Student Selected Excerpts from How to Practice by Terry Guynes, School Band & Orchestra, April 2007

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1 Student Selected Excerpts from How to Practice by Terry Guynes, School Band & Orchestra, April 2007 Don t Set a Clock; Set a Goal When sitting down to rehearse, the goal should be to be able to play something that couldn t have been played the day before, or something that was difficult from that day s band class. Remember to set a musical goal: I will be able to play these three measures at a tempo of 120 beats per minute by the time I get done today. Tomorrow my goal will be able to play it at performance tempo of 160 beats per minute. Make Practice Fun: Play Along with a Friend or a Pro Sessions can be made more fun by practicing with a friend. Work together to get parts down or help each other out. Listen to each other play and decide what needs improvement The biggest advantage of practicing with a friend is that he or she can help make sure that phrasing is consistent and that breathing is occurring at the same intervals, when necessary. One way to develop the ear very quickly, while playing real music and accompanying a real band, is to buy a recording of a professional who plays your instrument and try to figure out what they are playing, and then try to play along with them. Start Slow Expect to fail many times before becoming proficient. While changing the articulations [and rhythms], start slow and build speed. Change the Articulations: Stay Slow Changing the articulations will make it easier to recognize the actual articulation that is written in the music. Don t just change the articulation once change it several times. Be Patient Progress will only become visible as mastery of the difficult passages becomes easier. Remember this is a very slow process. Countless hours of sweat, sometimes a little blood, a lot of tears, patience, and dedication are necessary to become a musician who is even slightly proficient at his or her craft. Conclusion Don t just put in the time make that time worthwhile. Dedicate yourself to improving how you use the limited time available for practice. Don t be afraid to ask your director. Directors always want to help their students improve that s why they became teachers in the first place. Real improvement comes from taking music that is difficult and practicing until it can be played with ease. If you can t count it, you can t play it. Remember to start slow.

2 CONCERT ETIQUETTE Byron Belt (Newhouse News Service) The performing artist is getting into full swing. Audiences are set to enjoy the entertainment and inspiration of performing ensembles of every description. Sometimes, performances will be marred by thoughtlessness on the part of too many people who otherwise consider themselves good citizens. These unknowing people ignore the simple rules of courtesy or unconsciously destroy the peaceful environment necessary for the enjoyment of many wonderful performances being offered to a generally eager and appreciative audience. Here are some rules that should be reprinted in every program book in America. Simple common sense and courtesy will vastly improve the serenity and happiness of sharers in the magic of the arts. TEN COMMANDMENTS OF CONCERT ETIQUETTE THOU SHALT NOT 1. TALK The first and greatest commandment. Stay home if you aren t in the mood to give full attention to what is being performed on stage. 2. ARRIVE LATE OR LEAVE EARLY It is unfair to the artist and the public to demand seating when one is late or to fuss, apply makeup and depart early. Most performances have scheduled times; try to abide by them. 3. USE THY CELL PHONE OR PERSONAL PAGER While what your conversation might be incredibly important to you, the audience does not wish to share in it. Turn your communication devices off before entering the concert hall. 4. RUSTLE THROUGH THY POSSESSIONS Leave any purse, briefcase, camera bag or what you have unlatched during the performance. 5. OPEN CELLOPHANE WRAPPED CANDIES OR LOZENGES Next to talking, this is the most general serious offense to auditorium peace. If you have a bad throat, unwrap your throat-soother between acts or musical selections. If caught off guard, open your sweet quickly. Trying to be quiet by opening a wrapper slowly only prolongs the torture for everyone around you. 6. ALLOW THY CHILDREN TO WANDER While your children are undoubtedly sweet and kind, they are most definitely yours. Please do not allow them to disturb neighbors trying to enjoy performances; audience members are not your system of daycare. 7. CHOMP THY GUM IN THY NEIGHBOR S EARS The noise is completely inexcusable and usually unconscious. The sight of otherwise elegant ladies and gentlemen chewing their cud is one of today s most revolting and anti-aesthetic experiences. 8. SIGH WITH BOREDOM If you are in agony, keep it to yourself. Your neighbor may be in ecstasy which should also be kept under control. 9. READ This is less an antisocial sin than personal deprivation. In ballet or drama, it is usually too dark to read, but in concerts, it is typical for audiences to read program notes, skim ads or whatever. Don t. To listen means just that. Notes should be digested before or after the music not during. It may, however, be better for those around to read instead of sleeping or snoring. 10. HUM, SING, WHISTLE, OR DANCE The musicians don t need your help and your neighbors need silence. Learn to tap toes quietly within shoes. It saves a lot of annoyance to others and is excellent exercise to boot. There are, undoubtedly, other points, and each reader will have a pet peeve we have omitted. However, if just these were obeyed, going to performances would be the joy it was intended to be and we all would emerge more refreshed. PLEASE REMEMBER: STAYING THROUGH THE ENTIRE CONCERT IS NOT ONLY A GRADED ACTIVITY FOR YOUR STUDENT, BUT COURTEOUS TO ALL OTHER PERFORMERS!

3 Music Lessons Pay Off in Higher Earnings: Poll Wed Nov 14, :33pm EST TORONTO (Reuters Life!) - Those hours practicing piano scales or singing with a choral group weren't for nothing because people with a background in music tend to have a higher education and earn more, according to a new survey. The poll by Harris Interactive, an independent research company, showed that 88 percent of people with a post-graduate education were involved in music while in school, and 83 percent of people earning $150,000 or more had a music education. "Part of it is the discipline itself in learning music, it's a rigorous discipline, and in an ensemble situation, there's a great deal of working with others. Those types of skills stand you well in careers later in life," said John Mahlmann, of the National Association for Music Education in Reston, Virginia, which assisted in the survey. In addition to the practical skills gained from studying music, people questioned in the online poll said it also gave them a sense of personal fulfillment. Students who found music to be extremely or very influential to their fulfillment were those who had vocal lessons and who played in a garage band. Nearly 80 percent of the 2,565 people who took part in the survey last month who were still involved in music felt the same way. "That's the beauty of music, that they can bring both hard work and enjoyment together, which doesn't always happen elsewhere," Mahlmann added in and interview. Reuters 2007 All rights reserved

4 BEAL CITY BANDS SUPPLY PRICE LIST REEDS Clarinet $1.25 Alto Sax $1.50 Tenor Sax $2.00 Bass Clarinet $2.00 Baritone Sax $2.50 MOUTHPIECES Clarinet $15.00 Alto Sax $16.00 Tenor Sax $20.00 Trumpet $28.00 Trombone $30.00 LUBRICANTS Cork Grease $1.00 Valve Oil $1.50 Slide Cream $1.50 TRUMPET MUTES Straight $12.00 Cup $20.00 Harmon $32.00 TROMBONE MUTES Straight $15.00 Cup $22.00 Harmon $52.00 PERCUSSION Drum Sticks $8.00 Keyboard Mallets $15.00 Stick Bag $15.00 Stick Kits $65.00 (Includes snare sticks, timpani and keyboard mallets and a stick bag) OTHER Cleaning Kits Flute $11.00 All Others $14.00 Metronome $20.00 Tuner $25.00 WEBSITE UPDATE: COMING IN JANUARY 2008 SUPPLY-O-U LIST Updated weekly to keep financial obligations up to date BEAL CITY BANDS APPROVED INSTRUMENT BRAND LIST Flute Armstrong Gemeinhardt Clarinet Buffet* LeBlanc Selmer Saxophone Selmer Trumpet Bach* Getzen Trombone Bach* Getzen King Percussion Ludwig Pearl Cymbals Sabian Zildjian* Sticks & Mallets Mike Balter ProMark Vic Firth* Questions? See Mr. Lowe

5 DECEMBER 2007 FROM THE PODIUM Each holiday season brings about a sense of reflection for me what we do, how we do it, and where we are going as a program. We are blessed in Beal City to have such tremendous students it is a reason teachers seek this place for their career s home. We are blessed with administrators that place great value on the arts and work to ensure their place in our school community. We are blessed with an incredibly supportive community of parents, grandparents, individuals and businesses who work to ensure our students have the finest experiences possible in Beal City. We are blessed to have tremendous students who have great capabilities musically and academically. To that end, Victor Hugo is quoted as saying, "There is nothing more powerful than an idea whose time has come." I have often thought of the idea of after-school sectionals for high school students that rotated through each section for some more structured practice time, individual attention and higher accountability. I have been concerned with implementation, attendance, and all the other things that accompany this initiative. Regardless of those concerns, I believe that time has come for us to make this important investment in our program. The realization that this is the moment and we are seizing it is not lost on me I certainly hope you feel the same. As our high school students prepare for our interdisciplinary concert and the National Festival Performance in Cleveland, we must move in a positive direction along these lines. These sectionals will be held on Mondays and Thursdays from 3:15 to 4:00 PM and rotate through each section. No instrument group will meet twice in a week; in fact, it may be two or three weeks before each section has rotated through their sectional obligation. These are meant to increase aptitude without taking precious time from our class time rehearsals. For our middle school students, we will endeavor to bring in some outstanding students from Central Michigan University to work during class time. These experiences have been meaningful for our middle schoolers in the past; I look forward to resumption of in-class instrument coaching. These investments are required because our program requires it. We are taking important musical and maturing steps that demand a different answer than one we have given in the past. We possess substantial musical talent at Beal City. However, without a new methodological approach to preparation, we squander this potential. Our program is truly one of the jewels of our community, a focal point of positive activity of our students. This investment is made by each of us in our program that has seen tremendous growth in numbers and musicality over the past several years. As we prepare for our interdisciplinary concerts, for MSBOA Middle School Band Festival, for Cleveland, we cannot and must not rest upon the accolades and achievements of the past. We are only as good as our next performance. We must remain committed to excellence in every facet of our endeavors. We are blessed in Beal City to have such fantastic students. I thank you for being given the ability to work with them, for the support you give now and in the future for their musical endeavors. I thank you in advance for your renewed commitment to our work to bring the very best in music to our community and our students. MAY YOUR FAMILY HAVE THE MERRIEST OF HOLDAYS AND THE BRIGHTEST OF NEW YEARS! Musically yours Mr. Lowe