Texas Bandmasters Association
Bandmasters Review • December 2013
10
week on individual demonstration and understanding
of concepts. Set the goals high but never push a
performer to the point of tension or establishing bad
habits. Check with a vengeance.
1 . Tone Ref inement
Establish a pure, beautiful tone and use as a
reference for extending range. After you have
established fundamental tone, continue to refine and
extend through the entire range of the instrument.
Especially with brass players, extending range before
players are physically ready will create compensation
that is difficult to rectify in high school or college.
Establish a routine of tone-building exercises as a daily
reference for the performers. Long tones serve so many
purposes—establishing and evaluating tone, as well as
consistency and pitch control in varying dynamics and
ranges. Take time in sectionals to utilize tone-builders
that are unique to the instruments in combination with
exercises used in full ensemble rehearsals.
It is important to emphasize a pure, unforced,
consistent tone. Exercises can include, but are not
limited to: tone, energy and pitch matching exercises,
scales, flow studies, intervals, etc. (Additionally,
harmonics for flutes, register key exercises for clarinet,
octaves for flute, saxophone and double reeds,
flexibility exercises for brass.) Continue to stress
voicing, tongue placement, embouchure, posture,
hand position, breathing, use of air and their effect on
tone production. Make short assignments and evaluate
them weekly. We also use a Cichowicz flow study
and Remington interval exercises for all ensemble
members. Additionally, each member is also provided
an individualized tuning chart and tendencies are
discovered and rechecked.
2. Technique Dri l l
Establishing a starting point with each student will
aid in the improvement of technique. Never force a
tempo that causes physical tension or breakdown of
the embouchure or hand position. Technique refining
involves a relaxed attitude, body and development of
muscle memory. In sectionals, establish the quality of
tone that you wish to maintain and accelerate tempos
according to the ability of the group. Don’t forget
to challenge individuals to maximize what they can
perform. Technique builders can include: scale and
technique exercises, including 3
rds
and arpeggios,
extended scales, chromatics in small segments, Clarke
studies, lip slurs, flow studies, technique exercises
unique to the instruments, short excerpts form etude
books, alternate fingering charts and drills. (Be sure
to vary articulations throughout the exercises.) Keep
records on tempos and success of each section member
and evaluate their progress each week.
Articulation Drill
When working to improve articulation, remind
players to keep tongue placement correct and
consistent. Again, it is important to remember to
start where it is most comfortable and effortless for
the performer. Double and triple tonguing can be
improved with scale and technique exercises. Flute
flutter tonguing should be taught in section rehearsal
only. Evaluation is necessary. Emphasize that releases
are just important as starts. Be very clear about note
values and releases. Check for incorrect releases,
including tongue-stops.
Vibrato
Vibrato is a must for every instrument except
clarinet and French horn. Diaphragmatic vibrato is
usually preferred with the exception of saxophone.
There is a variation of demand for vibrato in the
ensemble. Flutes, double reeds and saxophones use it a
majority of the time in full ensemble. Many conductors
ask brass players to use it only soloistically. Drilling
a measured vibrato in section rehearsal is useful in
teaching performers to vary or control their vibrato
Developing the Individual Musician in Sect ion Rehearsals