When I recently gave this presentation at Midwest, my audience survey reflected the wide discrepancy in the amount of rehearsal time that exists at all school levels throughout the country. Despite the limited time we get to teach a larger number of students than an average class size, we are the only subject that has to demonstrate what our students have learned in front of the public at least twice a year! Added to this challenge are disruptions to our precious rehearsals due to testing, assemblies, field trips, student absences, fire/lock down drills, and weather. With that in mind, I thought it would be helpful to share some strategies I believe will maximize the musical skills/knowledge learned despite the time constraints directors face.
Band directors can be creatures of habit (teach how we were taught) and control freaks (we know what’s best) by nature. In order to increase our instructional time, we need to relinquish control and think outside the box. By creating an environment that is student-centered rather than teacher-centered, we empower our students to rightfully share the onus for a successful band program.
The first step is to delegate tasks to capable students. Here are daily responsibilities I like to assign:
- Class Librarian – Distribute and Collect Music, Copy, and Loan Practice Parts.
- Class Accountant – Collect Permission Slips, Excused Absence Requests, Fund Raiser Orders, etc.
- Class Manager -Distribute Reeds, Oil, Slide Grease, Pencils. etc. Arrange Chairs/Stands Before/After Class
- Section Leaders – Attendance, Run Sectionals, Collect, and Return Cell phones at the start of each rehearsal.
- Band Buddy -Assign each upperclassman a newbie to be their “go to” person for questions, help, etc.
Sharing these duties allows you to bond with your students as they enter the rehearsal space and start on time. Whether you make these permanent positions for each school year, rotate them, or coincide multiple people in a role to spread the ownership is up to you. The time invested upfront to train them will generate big returns in the long run.
It is most efficient to have announcements/reminders and your rehearsal order already posted on the white/smart board so percussionists know what equipment needs to be readied and you won’t waste instructional time orally telling them about upcoming band-related events. To further develop their musical knowledge without formally putting aside practice time to discuss music history, terminology, or theory, don’t list the rehearsal order by title. Instead, try something like this:
1.-Russian Romantic piece, 2.-piece in Concert Ab, 3. -Allegretto piece, 4. -piece in Ternary Form, etc.
This will naturally generate a discussion among students seeking to find the answers.
Moving on to developing ensemble skills, “It is wise not to tune with your eyes.” Teach your students how to tune with their ears and not rely on a visual needle/color or you to tell them when they are in tune. Generate the desired pitch and challenge students to eliminate any “beats/waver” they hear to match it. My students enjoy the game of Telephone, where they pass the pitch down the line in their section and see if the last person matches the first chair once they receive it. Avoid tuning only at the start of rehearsal because the pitch will change as instruments literally warm-up and students shouldn’t think that once they tune a Concert Bb, they are good to go. Have sections check their pitch on specific notes noticeably out of tune during the course of the rehearsal so they learn to constantly listen and adjust. My mnemonic expression is “shorter/sharper and longer/lower.”
Frequently record rehearsals and play them back for the band to critique using a simple rubric to help them focus on specific elements. Request they not only identify a specific problem using music terminology but also prescribe a solution. I grade these so students will give their best effort but also so I can also write comments to guide their choice of music terms and solutions to become more adept at resolving musical issues. This skill will transfer over to rehearsals if you get in the habit of asking first if anyone knows why you stopped and if someone else can recommend a solution for improvement, rather than you always being the “doctor.”
The expression “A picture speaks a 1,000 words” applies to music. Say it with your baton rather than with words, whether it be the desired tempo, dynamics or style of articulation. If your baton doesn’t convey the message, ask the first chair player to model how a passage should be played rather than discuss it. I find it is also helpful if I model first how I heard a passage played and then how it needs to sound (compare/contrast) so they can hear the difference. This will allow for more playing, and less talking and get the students to watch you more. Playing professional demo recordings of the piece is another form of compare/contrast that will raise their awareness of detailed interpretation and help develop their aural imagery.
Developing student independence and confidence is a key factor to a solid band. Begin by minimizing how much you cue in rehearsals so your students won’t depend on you but instead are actively engaged in counting rests and listening for aural cues to make an entrance. Take this a step further by creating a chamber ensemble within the large band and have the students in each section count off by 4’s. Randomly ask only the 2’s to play a passage together so they can’t rely on you or other members of their section. This can serve as an informal assessment for you within the context of the group rehearsal. Take it to another level and have all the students sit in a different seat than usual without the same instrument sitting on either side of them (Scrambled Eggs). This not only reveals how well they each know their part but also increases their awareness of other instruments’ parts and how they should fit together. Lastly, challenge your band to internalize the beat and music with the “Audiation Game.” When they see you randomly hold up a fist, they are to stop playing/tapping out loud but continue hearing the music in their head with the goal of re-entering together when you drop your fist.
Anthony Susi is a lifelong CT Music Educator who has taught band at the middle, high school, and collegiate level since 1985. He has been invited to conduct numerous honor bands in CT, RI & MA. Mr. Susi is also a published composer of many works for Concert, Marching, and Jazz Bands as well as Orchestra. He has served as an Adjudicator/Clinician for Fantastic Festivals for several years. For further info, you can contact: susimusic1@gmail.com
Related Reading:
Flying Solo: Fostering Musical Independence in the Middle School Band Room
Past the Page: Approaching Rehearsal Through Score Study
A Fundamental Approach to Teaching Individual Listening and Playing Responsibilities
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