Diamond Balance – How to Get Better Clarity and Balance From Your Ensemble

There is no shortcut to great ensemble resonance. After 30+ years of band directing, and more than 2 decades of ensemble adjudication, alongside attending and presenting band clinics, I find the one thing that eludes us as band directors is the concept of “ensemble sound.” People ask me often “How do you achieve and learn a good band sound?” In my opinion, this is a loaded question. It is interesting to note that Texas has a nationally perceived band sound, yet within Texas, ensemble sound is as diverse as the Texas topography. My reply to the aforementioned question is usually something like, “Well, most bands tend to take on the personality of their director.” For instance, my ensembles tend to be relatively loud, as am I, or so I’ve been told. We all have a sound or concept in our minds, but how do we get it to manifest in real-time?

SIMPLICITY IS KEY

I try to keep things QUITE simple when I teach. I use terms and visual cues that students understand immediately. I have two “primary” non-negotiables: Notes and rhythm. Why only two? These are the only two items on a score that cannot be negotiated. Articulation, dynamics, balance, volume, style, and even intonation, can all be negotiated within a piece of music, or ensemble drill. While these are extremely important, they are negotiable nonetheless.

WHY TEACH BALANCE?

Directors and students work so hard to produce something that is, generally speaking, illusive and intangible in its explanation but highly desired…. ENSEMBLE TRANSPARENCY AND CLARITY. However, I find, when we are younger, we tend to focus on things that do not help us achieve this end. When we come out of college, we have commonly been in advanced ensembles where the conductor is brilliant, and the students are so talented and focused that it seems to be the norm that good band sound is going to happen when we stand in front of a group of students. We forget the advanced preparation and quality of the musician, which was needed to create the ensemble sound. What we do not realize is that the college experience is NOT the typical public school music educational setting. I believe you must start at the most understandable level of the group in which you are directing. Assume they know nothing other than what you, or a knowledgeable director, has taught them.

DIAMOND BALANCE: EARS ALWAYS ON

The Diamond balance application sets instrumentalists up to where their ears are “ALWAYS ON.” This concept usually begins with 2nd-year players. Once the fundamentals of good individual performance pedagogy have been introduced and are being realized, you can begin to build your “Diamond Ensemble Sound.”

PERFORMING WITH RESONANCE, TRANSPARENCY, AND TONAL COLOR: YOU CAN’T TUNE A BAD SOUND.

The Diamond Balance concept gives a tangible, visual, picture to the intangible concepts we are instructing every student while creating resonance and color that we’ve always sought to achieve. For years I used the “trio balance concept” exclusively and it worked very well for me. The origin of the Diamond is from the original “trio” concept, which is still widely used and highly successful, but from a listening/learning perspective, it can have some limitations:

• Listening direction and focus is primarily side to side.
• Listening and matching is always referred to as right and left.
• Students are taught to focus on the person next to you, rather than specific instrumental timbres and colors.

MAKING THE CONNECTION

Diamond Balance expands the listening focus and makes it “four-dimensional.” Using simple and relatable objects to take an intangible concept and create a tangible mental picture for your students.

• Ø  DIAMOND = ENSEMBLE (including chamber ensembles)
• Ø  CLARITY & BRILLIANCE = TONAL CLARITY AND RESONANCE
• Ø  COLOR = INSTRUMENT TIMBRE
• Ø  IMPERFECTIONS = SOUNDS THAT DEVALUE THE PRODUCT
• Ø  MASTER JEWELER OBSERVES AND APPRAISES QUALITY…  THE DIRECTOR IS THE MASTER JEWELER.
• Most bands work extremely hard for assessments and evaluations but tend to fall short of their desired goals due to ensemble tone and balance issues.

WHEN TO START

This concept is best applied with 2nd year players or the end of the first year.

Note: You can’t balance or tune a bad sound! Characteristic instrumental timbre is essential. When used properly, in conjunction with proper instrument pedagogy, and a good fundamental approach to instrumental performance, Diamond balancing can give any level, or type (inside or outside) of the ensemble, a more resonant and colorful sound.

MULTI-DIRECTIONAL LISTENING AWARENESS

• Matching:  pitch, tonal energy, and volume to begin.
• These concepts set the performer’s ears to “ALWAYS ON.”
• Increases student aural focus and awareness.
• Improves individual proximity awareness.
• Clearly defines balance responsibilities.
• Provides immediate results.
• Easy for students to process and understand.
• Students learn to create their own diamonds and shine!! Wow!!

CONSIDERATIONS

• The diamond is only as good as the consistency and application of the information.
• Just as VR brings you into the experience, the Diamond has “Ensemble VR” which brings the student into the experience, and it is ACTUAL music reality.
• Ensemble Diamonds are interactive and intuitive. EARS ARE ALWAYS ON!
• It is not fixed in its application, can be used in marching, chamber, vocal, and orchestral.
• Multiple setups are not an issue.
• NOTE:  Using the phrase “Play inside your Diamond” only works AFTER quality pedagogical information is taught.

BASIC AND ADVANCED APPLICATIONS

Describe/teach the Diamond with actual students in it.

Talk about trio sound concept vs. Diamond balance multidirectional listening and awareness.

• Diamond is “4D” sound vs the normal (trio) 3D sound of the average band.
  • 3D is good but not all-encompassing to the listener.
• You can “feel the resonance” in the diamond 4D.
  • 4D is the musical “moment’ that evokes memories.
• Diamonds come in all shapes and sizes.
  • Color, Clarity, Cut, etc…

BUILDING THE DIAMOND

• We are making the intangible tangible. Students will now have a more understandable concept than just “match your neighbor” or “play inside.”
• Playing: “Diamond” band sound should start on unison concert F or Bb.
• Remember, you cannot tune or balance a bad sound.
• Characteristic sound should lead to resonant and transparent sound.

LET’S GO!

While there is no “Magic Potion” for achieving a great band sound, having a manageable effective system is critical. It is not the only way, but the Diamond Balance technique has proven effective for the last 15+ years, however. Consistency is key. It does not happen overnight. To be successful we need to commit to using the high-quality standards and techniques within our profession. Relationships matter! Work to find colleagues that will mentor, help, and walk alongside you. Remember, no one is an island unto themselves.

 

Rory Davis is in his 32nd year as a music educator and is the inaugural Director of Bands at Freeman HS in Katy TX [ established August 2024] His ensembles have received state and national recognition and numerous national performance invitations. Having taught at every socio-economic level, and demographic population, he maintains a highly active clinician and adjudicator schedule throughout the state and nation. Rory realizes his talent is a God-given gift and the calling to teach extends beyond the classroom. His affiliations include TMEA, TBA, TMAA, Fellowship of Christian Musicians (FCM), Phi Beta Mu International Bandmasters Fraternity, and Kappa Kappa Psi. He has been married for 28 years and has two children.

Related Reading:
Sound is Caught, Not Taught
Why Doesn’t My Band Sound Good?
Does your Band Sound Better from the Back?

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