The ART of Instrumental Music for The Creative Director

Transcription

1 Youngston State University Dana School of Music November 20-22, 2008 The ART of Instrumental Music for The reative Director A ne dimension in teaching... thinking... practicing... and playing an instrument! Edard S. isk, linician Osego, Ne York What is best in music is not found in the notes. Gustav Mahler Part 1: "The Mastery of Music undamentals" "The notes of a composition do not exist in isolation; the movement of harmonic progressions, melodic contours and expressive colorations provide each interval ith a specific sense of belonging and/or direction."...pablo asals Part 2: "The Mysterious World of In-Tune Playing" omposers utilize the overtone series as part of their harmonic language. If the music is performed out of tune or misunderstood, then the overtone series is destroyed, and the composer's intentions are not fulfilled."...robert Jager, omposer Part : "Beyond the Page" The ritten note is like a strait jacket, hereas music, like life itself, is constant movement, continuous spontaneity, free from any restrictions... There are so many excellent instrumentalists ho are completely obsessed by the printed note, hereas it has a very limited poer to express hat the music actually means....pablo asals

2 "What is best in music is not found in the notes." Gustave Mahler "We are becoming slaves of little marks on a piece of hite paper hich e call music." eopold Stokoski "The ritten note is like a strait jacket, hereas music, like life itself, is constant movement, continuous spontaneity, free from any restrictions... There are so many excellent instrumentalists ho are completely obsessed by the printed note, hereas it has a very limited poer to express hat the music actually means." Pablo asals "You must give each note life, your life... You must sacrifice, you must learn to give yourself to music... Then you ill make it live... Then you ill be able to make other people understand music." Nadia Boulanger "Technique is not music... Music is the thousandth of a millisecond beteen one note and another, ho you get from one to the other - that's here the music is." Isaac Stern "Music making begins in the mind, not in the stick." eonard Bernstein About the linician... Edard S. isk is an internationally recognized clinician, conductor, and author. He is a graduate of Syracuse University School of Music ith advanced studies at Ithaca School of Music, Syracuse University and Osego State University. During his 21-year tenure at the Osego ity School District ( 70-91), the Osego High School Wind Ensemble received notable acclaim ith performances at national instrumental conferences and had the privilege of being conducted by most (1) of the nation s prestigious conductors and composers. Mr. isk as recently the 48th director to be inducted into the prestigious National Band Hall of ame for Distinguished onductors. This is considered to be the very highest honor any band director can ever receive in their lifetime. He joins the ranks of notable conductors such as John Philip Sousa, Edin ranko Goldman, rank Simon, Henry illmore, ol. Arnald Gabriel and ol. John R. Bourgeois, among many others. The National Band Hall of ame for Distinguished onductors is housed in a magnificent facility made available by Troy State University in Alabama. Mr. isk s installation as ebruary 2, In addition to this notable recognition, the University of Alabama School of Music appointed Mr. isk to the distinguished Endoed hair Position in Music Education for the school year. The appointment includes lectures dealing ith the preparation of future music educators and their responsibilities in the changing orld of education, rehearsals, teaching instrumental methods classes, and rehearsal techniques lectures based upon his reative Director Series publications. Mr. isk is an elected member of the American Bandmasters Association and in the year 2000, served as the 6rd President of this distinguished organization founded by Edin ranko Goldman. He has an active guest-conducting schedule that includes all-state bands, honor bands, university, and professional bands including the U.S. Air orce Band, Australian Wind Symphony, U.S. Interservice Band, U.S. Army ield Band, U.S. Army Band "Pershing's On", and recently the 175th Anniversary oncert of the Allenton Band, hich featured several prominent conductors ho had a significant impact on the band orld during the past fifty years. He is the author of The reative Director Series (8 pub.) published by Meredith Music Publications and a co-author of the highly acclaimed 7-volume publication by GIA, entitled Teaching Music Through Performance in Band. He is the editor of the Edin ranko Goldman March Series published by arl ischer Music. His editions of On The Mall, The ABA March, Bugles and Drums, and Onard-Upard March are currently available. Since 1985, Edard isk has served as an adjunct professor, clinician/ lecturer, adjudicator, and guest conductor throughout 45 states, 5 anadian Provinces and Australia. With emphasis upon rehearsal techniques and school band program design, he has made more than 500 presentations at state, national and international conferences, university graduate sessions, and orkshops. Mr. isk is an appointed member of the Midest linic Board of Directors and serves the John Philip Sousa oundation as Vice-president for Administration. He is a past-president of the National Band Association ( 90-92), and served NBA as Executive Secretary Treasurer ( ). He holds membership in several professional associations and is an International Honorary Member of Phi Beta Mu.

3 linic Outline "The ritten note is like a strait jacket, hereas music, like life itself, is constant movement, continuous spontaneity, free from any restrictions... There are so many excellent instrumentalists ho are completely obsessed by the printed note, hereas it has a very limited poer to express hat the music actually means."...pablo asals I. Introducing the ircle of 4ths A. Expanding Musical Performance Vocabulary B. Transposition Grouping Assignments 1. hord Qualities, omposer Voicing, Melillo unction horales 2. hord Progressions (I-IV-I, I-V7-I, I-IIm7-V7-I, 7th tone chords) II. Secret for Success: THE Grand Master Scale! A. Why the Grand Master Scale? 1. Breaking 'old scale habits' B. Scale Variations, Articulation. earning process for Scale Mastery Also in Vol. 2, hapter 2, Teaching Music Through Performance in Band - GIA Pub. omposers utilize the overtone series as part of their harmonic language. If the music is performed out of tune or misunderstood, then the overtone series is destroyed, and the composer's intentions are not fulfilled."...robert Jager, omposer III. The Mysterious World of In-Tune Playing A. Student Responsibilities for Balance, Blend, Intonation 1. Steps to Balance, Blend and Intonation 2. Beatless Tuning Process B. Exercising Straight ine Tuning 1. 6 Step Tuning Process. The Art of Tuning Overtones 1. Pitch is relative to fundamental 2. Tuning Unisons, Octaves, 5ths, 4ths. Maximize Sonority Resonance D. Exercise ull Ensemble istening 1. ull Band Tuning Process a. Unisons, Octaves, 5ths, 4ths -Group Assignments 2. Vertical and Horizontal istening Skills a. Vertical = Just Tuning b. Horizontal = Equal Tempered Tuning (Grand Master Scale) Also in Vol. 5, hapter 2, Teaching Music Through Performance in Band - GIA Pub. "We can never exhaust the multiplicity of nuances and subtleties hich make the charm of music...we tend to be inhibited by the printed score ith its scarcity of expressive markings."...pablo asals VII. Artistic Expression...taking the 'risk'... looking beyond the unadorned markings of musical notation. A. The Search for Meaning (or, the mystery beyond the notes) B. Ho do e exercise expressive playing? 1. illing the gap beteen mechanical and artistic performance. Discovering nuance, inflection feeling through rhythmic speech! 1. Word Prosody Sentences, poetry, rhythms, questions, exclamation points, speech intonation D. Subtleties of 'musical thought' 1. Melodic line - horizontal flo direction 2. Harmonic content - tension and resolution. "If you can't say it, you can't play it" a. Speaking rhythm patterns E. Energy and forard movement of timed thinking:...phrasing!! 1. o Searches for High High Searches for o Short ooks for ong Also in Vol. 4, hap., Teaching Music Through Performance in Band - GIA Pub. A musical imagination that speaks through the beauty of sound...moving in and out of silence...edard S.isk

4 The graphic illustrates a connected vie of Alternative Rehearsal Techniques. The foundation is based upon the ircle of 4ths. All musical elements in a arm-up or instructional (lesson) setting evolve from this central point or ro of pitches. The literature demands dictate the selection of musical elements as a preparatory exercise for a rehearsal. This may include articulation, rhythm patterns, chord qualities, listening, intonation to name a fe. The ircle of 4ths ties all the important elements together. ircle of 4ths To acquaint the students ith the ro of pitches, simply have them play the letter pitches (hole notes) starting ith their assigned (transposed) pitch and continue through the ro as outlined belo. Students should be instructed to play mid-range notes. B flat Instruments: E flat Instruments: Instruments: Instruments: ----Ab-Db(#)-Gb(#)-b(B)-E-A-D-G- G-----Ab-Db(#)-Gb(#)-b(B)-E-A-D-G ---Ab-Db(#)-Gb(#)-b(B)-E-A-D-G-- --Ab-Db(#)-Gb(#)-b(B)-E-A-D-G--- "A musician s mind constantly moves in time, synchronized ith other members, creating an ensemble of musical expression through the lyricism of melodic, harmonic, and rhythmic sounds... moving in and out of silence."

5 Ruler of Time Graphic representing students ith poor time aareness and response. acking a unified Internal Ensemble Pulse!! Misaligned pulse consumes rehearsal time! Discipline of Duration Exercises Rehearsal #1 Rehearsal # (Release) (Release) (Release) (Release) Release the moment the "mind" thinks of "4". ET (Release) (Release) (Release) (Release) Release the moment the "mind" thinks of "5". Rehearsal # (Release) (Release) (Release) ONTINUE THROUGHOUT ENTIRE IRE O 4THS ontinue throughout entire ircle of 4ths Number ='s Number ='s Number ='s Note Values Release the moment the "mind" thinks of "7". Rehearsal # (Release) (Release) See STUDENT SUPPEMENT Book 1, pages 9-12 STUDENT SUPPEMENT Book 2, pages12-17 TEAHING AESSORIES page 1 1A Number ='s

6 c œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ab œ œ œ œ œ œ œ œ Gb The Grand Master Scale The asterisk above the last note of each scale indicates mind/thinking preparation for the next scale. This example allos 4 beats to think and prepare for the next key signature and scale. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Db œ œ œ œ œ œ œ œ œ œ b œ œ b œ œ œ œ œ E # œ # œ œ œ # œ # œ œ # œ # œ œ œ # œ # œ A œ œ # œ œ œ # œ # œ œ # œ # œ œ œ # œ œ D œ œ # œ œ œ œ # œ œ # œ œ œ œ # œ œ G œ œ œ œ œ œ # œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Those unable to play all scales are to sustain the keynote (tonic) for the duration of that scale and continue to the next scale. The Grand Master SHOUD NOTE BE NOTATED...students are to rely upon scale knoledge (application of hat has been taught and knon). The Octave of Reason! Establishing ne musical value and orth for scale knoledge and performance 1. Spontaneous reaction to A keys. 2. Individual and section ensemble technic.. Eliminate mindless repetition of technical passages found in solo and ensemble music. 4. A meaningful approach to sight reading. 5. oundation for harmonic understanding. 6. oundation for solo and ensemble intonation (playing in a pitch center ). 7. Access to a full range of band literature. 8. oundation for improvisation. See next page for scale variations.

7 Grand Master Scale Variations Examples of scale variations (adjust patterns to grade level): 1. Ascending-Descending B 2. Ascending only B E. Descending only B E 4. Ascend the first and descend the next scale B E 5. Descend the first and ascend the next scale B E 6. Ascend scale and descend chromatic scale 7. Ascend chromatic scale and descend major scale 8. Mixed Meter Scale (7/8) Scales are played ith various articulation patterns from band literature being prepared.

8 The Mysterious World of In-Tune Playing (Volume 5, hapter 2) "omposers utilize the overtone series as part of their harmonic language. If the music is performed out of tune or misunderstood, then the overtone series is destroyed, and the composer's intentions are not fulfilled."...robert Jager, omposer Overtone Series for Tuning = Beatless Octaves = Beatless 5ths The Art of Tuning Overtones? #?? b 1, To determine balance: If you hear yourself above all others in your section or band, you are overpoering or over-bloing. Make an adjustment to volume by playing softer; lose your identity by making your tone become a part of the section and/or the ensemble. 2. To determine blend: If you still hear yourself and you made the volume adjustment, you are playing ith poor tone quality. Adjust embouchure, breath support, posture, or equipment (instrument, mouthpiece, reed). Poor tone quality ill not blend ith your section or band; lose your identity by blending your tone as it becomes a part of the section and/or the ensemble.. To determine tuning: If you still hear yourself, and you made the adjustments to balance and blend, you are playing out of tune! Adjust the length of your instrument, as outlined in Six-Step Tuning Process Six-Step Tuning Process 1. As you play concert ith your section leader, listen for the beats. Are the beats fast or slo? Adjust the barrel, mouthpiece, or slide. (Move the slide/barrel in or out). 2. If the beats become faster, you moved the barrel, mouthpiece, or slide the rong ay. Adjust the length of your instrument in the opposite direction.. If the beats became sloer, you moved the barrel, mouthpiece, or slide in the correct direction. ontinue in this direction until all beats are eliminated, or until you are hearing the pitch as a straight-line. 4. If you are pinching your embouchure to eliminate beats, your instrument is too long and must be shortened. 5. If you are relaxing your embouchure to eliminate beats, your instrument is too short and must be lengthened. 6. When you and your section play the same pitch ithout any unnecessary embouchure adjustments and no individual sound or beats are heard (lose your identity)......you and your section are perfectly in- tune! Exercise Straight-ine Tuning Target Tuning (a of Sound = Highs never pass os = Highs must be in-tune ith the octave belo) Principal Player Overtone Tuning "Played softly, a lo frequency tone must have ten times the energy of a midrange tone to sound as loud and almost a hundred times the energy at higher levels. Our ears are most sensitive to high tones, hich require only a fraction of the energy to sound as loud as a midrange tone."...robert Jourdain Piccolo 1. Oboe 12. lute 11. larinet in 10. B b Trumpet in 9. B b Alto Saxophone 8. Horn 7. in Baritone Sax 6. Bass larinet 5. Bassoon 4. Trombone. Euphonium 2. Tuba Tuba 1. U U U larinet U Trumpet U U U U Bass larinet U? Bassoon U? Trombone U? Euph. U? U Piccolo/ lar. Oboe lute Alto Saxophone rench Horn Baritone Sax Principal Players = Begin Tuning from Principal Tuba and tune up to Piccolo. Beatless unisons and octaves are the priority. ull Ensemble Tuning (unisons, octaves, 5ths, 4ths) Octave...Group Ab - Db - Gb - b - E - A - D - G - - 5th...Group Ab - Db - Gb - B - E - A - D - G - 5th...Group Ab - Db - Gb - B - E - A - D - G - Root...Group Ab - Db - Gb - b - E - A - D - G - -

9 U ENSEMBE TUNING EXERISES (Using ircle of 4ths) Exercise Tuning in All Keys Basic Tuning #1 Group 1:,,, Ab, etc. Group 2 :,,,, etc. Group 4:,,, Ab, etc.? Ab b Tuning Variation #2 Group 1:,,, -,,, etc. Group 2 :,,, -,,, etc. Group 4:,,, -,,, etc. (move forard one pitch and return, etc.) 1 Tuning Variation # Group 1:, G,, -,,, etc. (do-re-do) Group 2 :, D,, -, G,, etc. (do-re-do) Group 4:, G,,?-, 4,, etc. (do-re-do) 4 4? b 5 b b? b b bb Tuning Variation #4 Group 1:, G,, -, A,, etc. (do-ti-do) 2 4 b b Group 2 :, B,, -, G,, etc. (do-ti-do) Group 4:, G,, -, A,, etc. (do-ti-do)? 4 b b b Tuning Variation #5? Group 1:, G,, E,, -,,, A,, etc. (do-re-do-ti-do or scale steps 1, 2, 1, 7, 1) Group 2 :, D,, B,, -, G,, E,, etc.(do-re-do-ti-do or scale steps 1, 2, 1, 7, 1) Group 4:, G,, E,, -,,, A,, etc. (do-re-do-ti-do or scale steps 1, 2, 1, 7, 1)? 4 Tuning Variation #6 Group 1:,,,, b -,,,,, etc. (do-fa-sol-fa-do - or scale steps 1, 4, 5, 4, 1) Group 2 :,, G,,, -,,,,, etc. (do-fa-sol-fa-do - or scale steps 1, 4, 5, 4, 1) Group 4:,,,, -,,,,, etc. (do-fa-sol-fa-do - or scale steps 1, 4, 5, 4, 1)? b 5??

10 Beyond The Page: The Natural as of Musical Expression The subtle emphasis can be communicated in music, by comparing it to ho e speak....menahem Pressler, Beaux Arts Trio Speaking Rhythm Patterns All music is nothing more than a succession of impulses that converge toards a definite point of repose. Igor Stravinsky o Searches for High Three Natural as of Musical Expression High Searches for o Short ooks for ong S H H S H S S S H H S H S H S S S H H H S H S S S H H H

11 lats (B#) b b - - B - E - A (E#) 6 b b b b b b b? b b b b b b b 1 2 (A#) (D#) (G#) 5 Piccolo Oboe larinet 1st lute 1st larinet 1st Alto Sax 1st ornet 1st Trumpet 1st rench Horn 1st Trombone 4 ircle of 4ths b b b D - G or or or # # - - B 5 b (b) (7) The top number indicates the number of flats or sharps in that particular scale. The bottom number indicates the correct order of flats or sharps. 2nd lute 2nd larinet 2nd Alto Sax 2nd ornet 2nd rench Horn 2nd Trombone Woodind hoir Brass hoir Percussion rd larinet Alto larinet Tenor Sax 4 rd ornet 2nd Trumpet rd Trombone rd 4th rench Horn # # # ## # #? # # # ## # # E - A - D - G Group 1 Group 2 Group Group 4 2 Bass larinet Bassoons Bari Sax ontra larinets Group 1 Group 2 Group Group 4 Baritone Euphonium Tuba String Bass Sharps Vibraphone (soft mallets) Xylophone (soft mallets) Marimba (soft mallets) Tympani opyright 1991 MEREDITH MUSI PUBIATIONS 1 a - d - g - c - f b b - - B - E - A (B#) b b b b b b b? b b b b b b b (E#) ircle of 4ths - Minor Scales (A#) (D#) (G#) b bb - eb - ab b b D - G - or or or a# - d# - g# # # - - B b c # - f # - b - e E - A - D - G The small letter (a - d, etc.) above the shadoed capital letter indicates the relative minor scale. Piccolo Oboe larinet 1st lute 1st larinet 1st Alto Sax 1st ornet 1st Trumpet 1st rench Horn 1st Trombone 2nd lute 2nd larinet 2nd Alto Sax Woodind hoir Group 1 Group 2 Group Group 4 2nd ornet 2nd rench Horn 2nd Trombone Brass hoir Percussion rd larinet Alto larinet Tenor Sax rd ornet 2nd Trumpet rd Trombone rd 4th rench Horn Bass larinet Bassoons Bari Sax ontra larinets Group 1 Group 2 Group Group 4 Baritone Euphonium Tuba String Bass Vibraphone (soft mallets) Xylophone (soft mallets) Marimba (soft mallets) Tympani # # # ## # #? # # # ## # # opyright 1991 MEREDITH MUSI PUBIATIONS

12 Important Reminders! Edard S. isk 1) Do not play the "line"/ircle of pitches from memory! The ircle sheet must be on the music stand! a) It is important to focus eye on each pitch as it is played. This establishes a pitch name "imprint, connection, or association" ith a scale, chord, chord progression, or other musical fundamental played in a particular key. b) Reading only pitch names (not notation) allos mind and ears to focus on "ISTENING" and forming relationships to musical demands (tone quality, intonation, balance blend, keys, chords, melodic lines). REHEARSA: 1. isten for entrance and release accuracy = the uniformity of ensemble pulse is here accuracy is found not folloing the conductor. 2. hange duration and silence for each rehearsal it is NOT the exercise that is important, it is the POWER of OUSED ONENTRATION in TEMPO that you are exercising.. Director is listening for balance, blend and intonation hen playing chord qualities. 2) Intelligence vs. Mindless Repetition DO emphasize the "mind-body" connection or the "process of producing" a musical expectation (in-tune playing, tone quality, rhythm pattern, chord qualities, etc.). a) Re-align your expectations and move sloly. Place emphasis on the timed thought process (neurosignal) that dictates the consistent accuracy of the musical product. "The primary cause of all learning is the activity of the student's mind. The best that the best teacher can do is to assist that activity." Mortimer Adler, Reforming Education Alays ask students to count the exercise out loud before playing your direction ill be, let me hear hat is happening in your mind. Insist on accuracy, if not, your directions ere not clearly understood. This is a top priority (and here traditional techniques break don). ) Duration exercises shape/develop tone quality, balance, blend, and intonation provide students the opportunity to "listen for" and "adjust to" (making musical decisions) individual, section and ensemble tone quality. All the questions and correct ansers are insignificant if you and students cannot hear the application of hat as taught! 4) Scale variations develop technical skills and articulation clarity. A band that plays all scales (and variations) is a superior band able to play a ide range of literature.scale knoledge is to band music as the alphabet is to vocabulary/reading! 5) Dynamic exercises develop consistent response to the balanced/blended expansion and contraction of ensemble sound. The approach immediately expands the dynamic range of your band. You can specifically point out discrepancies at any point ithin a crescendo or decrescendo (not possible ith conventional techniques). 6) Active vs. Passive Participation: provide students ith opportunities to exercise musical decisions that are musically meaningful (too often overlooked). Without opportunities to exercise musical decisions (correct/incorrect), students remain "passive," aiting to be told hat to do! The directors direction ill be = let me hear hat is happening in your mind. You are establishing ENSEMBE THINKING in a UNIORM, TIMED PROESS this is intelligent music performance. 7) Be consistent: maintain the same musical expectations and rehearsal techniques for concert band, jazz ensemble, marching band, small ensembles and solo performance. The fine art of musical performance does not change! opyright 1987 Edard S. isk

13 Publications by Edard S. isk Available through MEREDITH Music Publications/HA EONARD, Inc. The reative Director: onductor, Teacher, eader...now AVAIABE! The reative Director: Alternative Rehearsal Techniques (Text Vol. 1) The Intangibles of Musical Performance (Text Vol. 2) The reative Director: Beginning Intermediate evels (Vol.) Student Supplement Book 1 Student Supplement Book 2 A.R.T. Teaching Accessories (Graphic illustrations of concepts) Alternative Rehearsal Techniques DVD-Video, assisted by Virginia ommonealth Univ. Wind Ensemble (1 hr.) Available through GIA Publications Teaching Music through Performance in Band Vol. 1 Teaching Music through Performance in Band Vol. 2 Teaching Music through Performance in Band Vol. Teaching Music through Performance in Band Vol. 4 Teaching Music through Performance in Band Vol. 5 Teaching Music through Performance in Band Vol. 6 Teaching Music through Performance in Band Vol. 7 (Dec. 2008) Available through arl ischer Publications Edin ranko Goldman March Series, edited by Edard S. isk On The Mall March The ABA March Bugles and Drums March Onard Upard March On Parade (2009) Edard S. isk 86 o. Rt. 25 Osego, NY 1126 Phone: ax: elisk@tcny.rr.com Web Site: