Orchestra Handbook. Philosophy. Dear Orchestra Members,

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1 Orchestra Handbook Tatyana Oksyuk, director Dear Orchestra Members, The Handbook contains much of the information that you will need to function as a successful band member for the school year. Please take the time to read the handbook and refer to it often. Both parents and students should become familiar with the information within. It is my hope that this school year will be one of our finest, but none of this is possible without your strong effort and dedication. I encourage you to become an active participant in the various optional opportunities contained within. Also, please note the various practice and performance dates that are scheduled throughout the year and make them a part of your personal calendar. We look forward to working with each of you and making our year a successful and memorable one! Philosophy Playing a musical instrument is one of the most complex human endeavors, requiring complete involvement in all three main aspects of human action: physical, intellectual, and emotional, in a balance that is constantly adjusting. Ignore any one element, and your performance will be incomplete. One must always strive to employ all three elements and it is a teacher's responsibility to guide a student through this process. ~Tatyana Oksyuk! PAGE 1

2 Radnor High School Orchestra Excused Absence Form For an absence to be considered excused, this form must be received at least one week prior to anticipated absence! No absences will be excused unless approved before the absence. The one week notification period will be strictly adhered to. Student s Name: Date: Date of requested absence: Nature of conflicting event: Extenuating circumstances which warrant consideration: Parent s Signature: (This request will not be considered unless signed by a parent or guardian.) Please do not write below this line. For orchestra director s use only. Date of requested absence: Nature of conflicting event: This petition for excused absence status has been: Approved Denied Orchestra Director! PAGE 2

3 Seating Seating is made on a concert-to-concert basis based on entrance auditions, mid-term, participation, experience, and attendance. Also, seating will be determined by the director based on each student s proficiency, dedication, attitude and leadership. Grade level or years of experience in the group is considered but will be secondary to demonstrated proficiency in this process. Auditions will be held from a selected excerpt two weeks in two rehearsals. Instrument Rentals If you need to rent out a school instrument to practice at home, please see the director for need forms. The rental fee is $80. If you do not own your own instrument and choosing not to rent it out, you are responsible to practice twice a week on a school instrument during community periods. The sing up sheet will be provided and kept a record of the practice times. Instrument Maintenance It is your responsibility to make sure your instrument is in tune and in perfect working order. All routine instrument maintenance must be done outside of rehearsal. Any instrument, which cannot be repaired by the player, should be reported to the director. Private Teacher List Troubadour Music Shop Wayne The Music Workshop Berwyn The Malvern School of Music Malvern Creamer Music Chesterbrook Plaza Meridee Winters School of Music Nelly Berman School Haverford Music and Arts Newtown Square The Gienger Conservatoire Bryn Mawr Wayne Arts Center Wayne! PAGE 3

4 Logistics Due to the number of students in the orchestra, everyone's cooperation is needed in a few procedures, which will minimize any logistical problems. 1. Instrument cases are to be stored in the instrument locker area only, at all times (except when they are taken home to be practiced!). During rehearsals, Instrument cases are to be left away from the rehearsal area. 2. Percussionists will keep all instruments not in use in the proper storage areas or in the percussion cabinet. Timpani and melodic percussion instruments will be stored in the rear or side of the room and must be covered when not in use. All school owned sticks and mallets are to be kept in the percussion cabinet or designated student area. 3. All cases are to have the student's name prominently displayed either on the case or on an identification tag attached to the handle. 4. Lockers - Every student is provided a school instrument locker. You are responsible for the lock and the condition of the locker. If the lock is stolen or switched, you are responsible for the replacement cost of the lock, which is $ The lock must be closed at all times to prevent theft and switching. The locks are numbered and correspond with the numbers of the lockers. These lockers are provided for your instruments and music; such items are not to be left out or in the band room. 5. Music may not be left on the stands or in the band room at any time. Music folders are marked clearly with your name and group. 6. The set-up is the responsibility of the orchestra members. Each student should put away his/her own instrument/music folder. Fundraising Fundraising is encouraged and will be organized in the future by the orchestra. Money raised is either credited to the students' individual accounts to pay for trips or put into a general line account for a variety of services beneficial to the orchestra proper. Grading Policy Students will be graded on an A - F scale as outlined in the high school student handbook. Performance and/or written exams may be used to track student progress. Proper communication with regard to scheduled rehearsals and performances as detailed in the attendance policy will also be factored into the computation of the quarterly and final grades. Responses to memos and other appropriate paperwork will also be counted as part of your communication grade. A student's inability to work within the rules established for rehearsal may also impact a student's grade due to lost participation time. Grading categories: Musicality, attendance, knowledge of repertoire, marching, sectionals, behavior, homework. Respect, responsibility and attitude are all factors in your final grade. Performance Attire As a member of the Radnor Senior High School Orchestra Program you are at all times representing yourself, your organization and your school. Your performance attire is a visual representation of the pride that you have in all three. The following policy will provide guidelines necessary to insure the proper wear, care and maintenance of the various uniforms that we will use for this year's performances. Concert Attire: Boys: White, button down dress shirt Black pants Black shoes Black socks Black plain tie Girls: White shirt Ankle length black skirt Black closed toe shoes! PAGE 4

5 Rehearsal Demeanor, Discipline, and Respect To maximize our potential, proper rehearsal demeanor is imperative. The two most important things orchestra members must do are have your instrument ready when it is time to play, and to remain SILENT when not playing. Class and rehearsals are to begin promptly; do not congregate in large groups outside; enter the room and be prepared to begin. Failure to meet the standards set by the director regarding these two items will be reflected through the behavior portion of your grade. Individual Performance As part of our course work, you will be called upon to play individually under a variety of circumstances throughout the school year. You should expect to perform individually in rehearsal as well as for the director in group sectionals. PMEA Festivals/Youth Orchestras Participation in PMEA festivals and youth orchestras is open to all students. Participation is encouraged and information will be handed out regarding auditions and opportunities for performances. CHECK YOUR CALENDAR FOR CONFLICTS BEFORE YOU MAKE THESE COMMITMENTS! Rehearsal Procedures Rehearsals will begin precisely at the time scheduled. All members are to bring their instruments, music, equipment and pencils to every rehearsal. Sectional Practices Students are required to practice individually on their own instrument daily to be a successful member of the orchestra. In addition, musicians will collaborate with their section on a weekly basis to play their parts in an ensemble setting. Section Leaders The director and the orchestra will elect section and orchestra leaders. Section leaders may be given minor instructional duties and will help to take attendance. They are expected to provide strong positive example through their performance and rehearsal demeanor. The section leaders are a direct link to the director and should be shown cooperation when asking you to accomplish a goal. Some duties include: helping to tune, changing strings, take attendance, bowing in parts. Officers The orchestra will elect the following officers: Secretary, and Librarian(s). The primary responsibilities of the Secretary is: to take attendance during evening rehearsals, to collect and file all necessary forms and hand outs. The Librarian(s) works with the conductor to distribute and collect the parts and to manage the stage set-up and clearance. Student Council Student Council will meet once a month to discuss the orchestra vision, structure, discuss repertoire, plan activities and trips. Student council will consist of section leaders and officers, if an orchestra members would like to part of it, please advice with the director.! PAGE 5

6 Evening Rehearsals ~December 2 nd 7:00-9:00 ~December 9 th 7:00-9:00 ~December 16 th 7:00-9:00 Concert ~December 17 th 7:30PM My idea is that there is music in the air, music a! around us; the world is fu! of it, and you simply take as much as you require. ~Edward Elgar! PAGE 6

7 How to Practice 1. The practice routine (should be kept flexible) 1. Stretch: 1-2 minutes 2. Warm-up exercises, technique (scales, arpeggios, drills): 20-30% of your practice time 3. Studies, chamber music, orchestra repertory: 30-40% of your practice time 4. Pieces, concerti, sonatas: 30-40% of your practice time 2. Practice stages 1. Develop and maintain your technique (always in a musical context) this is a component of all practice routines. 2. Read new material, decide on fingerings, bowings. Should be dome as close to tempo as possible, even if playing is not accurate. Should not take longer than 1-2 practice sessions for new material. 3. Repeat the patterns you established. Spend time on those that give you more trouble. 4. Practice the act of performance. Practice the memorization. Let go of your inhibitions, take chances, be creative, go for it. 3. Practice Hints 1. Practice regularly consistency is more important than a lot of practice at random intervals 2. Be disciplined go through your routine, no matter how little you practice 3. Set goals work on specific issues, or specific passages 4. Think apply your mind to what you are doing. Practice thinking patterns, not finger patterns 5. When you start, set time limits. "I'll practice today for 2 hours." 6. Take breaks. Take a break at least every minutes. 7. Practice slowly. For some passages, one must play slowly up to 80 % of the spent. 8. If it hurts, stop. Make changes. 4. Practice techniques for studies and repertory 1. Play once through the whole piece or a large section. Evaluate what went well and what needs practice. 2. Go back to the beginning. Repeat trouble spots: a passage, a measure, a shift, a chord, an arpeggio, a sustained bow, a long breath, etc. This is like brain surgery and certainly very tedious.! PAGE 7

8 1. Put the detail (the passage.) in its context. Play it starting 1-2 measures before and plus 1-2 after. Evaluate. Whether the passage is solved or not, go on, but remember it. Come back to it the following practice session. 2. Cover as many details as possible. 3. Play again through the whole piece (or section). PERFORM IT. 2. Some practice tricks o practice passages with various rhythms o practice passages on different strings or in different registers o practice from very slow to very fast (using the metronome) o practice in the dark o record yourself and listen o for strings or piano, some passages can be played as double stops or as chords o invent your own variations The Daily Practice Chart (as I see it) If you want If you want If you want Age to be OK to be good to be great 6-10 yo 20 minutes 1 hour 2 hours yo 45 minutes 1 ½ hours 3 hours yo 1 hour 2 hours 4+ hours If you have unbelievable talent, you can reduce the time by half. If you don't get it very easily, double the time.! PAGE 8