Texas Bandmasters Association
Bandmasters Review • April 2014
12
repeat the top note or to begin the descending scale
immediately.
“Each step of a scale can be identified by its solfeg
syllable such as do, re, mi, etc., but today we’re going
to address them by their scale degree. The first note
of the scale is scale degree #1, the second note is scale
degree #2, the third note is scale degree #3, etc. What
would the scale degree be for the top note of the scale?”
(Answers may be #8 or #1. You can then remind the
students that it is actually the same note name as the
first so the degree would be a repeat of #1).
After years of experience, I am convinced that
further clarification here before embarking on the
creation of the chord progression can save confusion,
if only for a few students. I suggest that, before
proceeding any further, you take a moment to practice
this simple concept in the following manner. “Let’s
play in the key of F Concert again, but this time I will
show you which scale degree to perform by holding up
the appropriate number of fingers with my left hand.
I’ll then conduct the downbeat with my right hand and
you play along with me.”
At this point, hold up one finger with your left hand
and give the downbeat with your right. Then move on
to two fingers, followed by the downbeat. Since most
of us only have five fingers in our left hand(!), you’ll be
limited to scale degrees 1 – 5, but jump around a bit
to make sure that every student is grasping this simple
concept (1, 2, 1, 3, 4, 5, 1 or whatever).
“Excellent! Now, let’s create a series of chords. Listen
carefully. Still in the key of F Concert, everyone playing
first parts such as 1st flute, 1st oboe, 1st clarinet, 1st
trumpet, etc. play scale degrees 1 – 2 – 1 – low 7 – 1.
Again, that’s 1 – 2 – 1 – low 7 – 1. All of you first part
players quietly take a minute to figure out what notes
those will be on your instrument. Everyone playing
second parts including 2nd flute, 2nd oboe, 2nd
clarinet, 2nd trumpet, etc. play scale degrees 3 – 4 – 3
– 4 – 5.” (Repeat those scale degrees once again.) “Go
ahead and quietly figure out what notes you will play.
Third parts and tenor saxophones, play 5 – 6 – 1 – 2 –
3.” (Repeat the scale degrees again.) Bass instruments
such as tubas, euphoniums, bass clarinets, contra bass
clarinet and bari sax, play 1 – 4 – 5 – 5 – 1.”
“Alright everyone, let’s play our chords slowly in
whole notes. This will either be miraculous or an
absolute train wreck so everyone please concentrate!
Follow me and think carefully.”
If you have not skipped any steps above, have
spoken clearly and explained as suggested, you will
be amazed at how well this will work, even with
very young players. You can now use this simple
chord progression to creatively address blend, balance,
rhythms, dynamics, etc. Personally, this is where I often
introduce Richard Floyd’s trio concept for improving
ensemble blend which he eloquently describes in
Teaching Techniques and Insights for Instrumental
Music Educators
by Joseph L. Casey (published by
GIA). Again, since the student musicians are totally
focused on listening and thinking (and NOT visually
distracted whatsoever), the instant audible results can
be truly astounding!
Gary Stith is Professor & Conductor Emeritus at the Greatbatch School of Music, Houghton College. A clinician, author and percussion
adjudicator, he is also a frequent honor band and festival guest conductor. He served as Contributing Editor of
Classic Beginning Solos for the
Complete Percussionist
published by Kendor, and is author of
Score & Rehearsal Preparation: A Realistic Approach for Instrumental
Conductors
published by Meredith Music Publications (2011).
Creat ing “ Instant” Memorized Warm-Up Chords In Band or Wind Ensemble Rehearsals