Texas Bandmasters Association
Bandmasters Review • December 2013
11
with the tempo and interpretive demands of a music
selection. You should stress that a soloistic vibrato
may be different from an ensemble vibrato. It can’t be
stressed enough that all performers in an ensemble are
soloists first and must learn vibrato.
Brass mouthpiece-to buzz or not to buzz…
If this technique is used, stress the importance of
correct tone production and consistency. The individual
musician can be evaluated on pitch consistency and air
fluctuation in drills and music.
3. Music related
Many elements of musicality can be clarified in
section rehearsals. Emphasis, phrasing, rubato, etc.
can be taught and reinforced in long tones, scales,
chorales, etudes, etc. Through long tones, you can
teach and evaluate intensity of volume, direction of line,
phrasing, and variation of vibrato. Evaluate tapered
releases for voicing, intensity, air column, embouchure
and aperture. Pitch should remain consistent. It
is vital that you use a tuner. Teach phrasing, and
rubato opportunities on assigned short, lyrical etudes.
Students must demonstrate an understanding of all
basic styles and articulations and be able to integrate
them into the music from the beginning.
Sightreading is a skill that can be mastered as long
as it is practiced. Have students perform unison lines
and duets with a metronome in varying tempos.
Reinforce the musical aspects of sightreading. Always
think of sightreading as an unplanned performance.
4. Individual Performance Opportuni t ies
Many successful band programs require solo
performances. There should be some form of solo
requirement on varying levels for every student in
the program. Many students enjoy the opportunity
to perform for others in a smaller venue. Hopefully,
the director will provide them with all of the tools
necessary to make the experience worthwhile.
Examples of individual performances include passing
off memorized music, All-Region/All-State etudes
(even shorter excerpts), ensemble audition music
and solo and ensemble contest music. Evaluate their
performance several times before they actually perform
for a judge.
Small, like-instrument section rehearsals provide
students with unique, individualized instruction that
they will most likely not receive in full ensemble.
This is also a time when the relationship between
director and student can be developed in a very
positive way, which will result in more equipped
and confident performer. This in turn will result in
increased individual and ensemble success.
Charlotte Royall is serving her 8 th year as Director of
Bands at The Woodlands College Park High School. She
previously taught at Knox JH in The Woodlands and in
Spring for 14 years as Director of Bands at Bammel MS.
She graduated from the University of Houston with a Bachelors
Degree in Music Education and studied conducting with Mr. Eddie
Green.Mrs. Royall’s performing groups have earned consistent UIL
Sweepstakes and Outstanding in Class festival awards. In 1990,
the Bammel MS Symphonic Band was named the TMEA Class CC
State Honor Band and performed at the state convention in 1991.
The band was also a state Class CCC fnalist in the State Honor
Band competition in 1996 and 1998. The College Park HS Band has
consistently earned Superior ratings at UIL Marching and Concert
and Sightreading and won Best in Class Awards at marching and
concert festivals. In 2010, the College Park Wind Ensemble was
state fnalist in the TMEA Class 5A Honor Band competition. The
band was also named 2010 and 2012 Mark of Excellence National
Wind Band Honors National Winner. Mrs. Royall serves as a
clinician and adjudicator in the southern United States area. She
has presented clinics for TMEA, TBA, The Midwest Clinic, BOA
Summer Symposium, and co-conducted the Spring ISD JH Honor
Band for The Midwest Clinic. Mrs. Royall held a seven-year term
on the TBA Executive Board, serving as president in 1999. She
is a member of the TMEA, TMAA and Phi Beta Mu. In 1999,
she received the University of Houston Moore’s School of Music
Distinguished Alumni Award. In 2009 she received the TBA
Meritorious Achievement Award.
Developing the Individual Musician in Sect ion Rehearsals