Page 20 - 2018-BMR-April

Artist Teachers

I think one way to do this, at least for me, is to offer Gentle Into That Good Night without hearing that timeless
guidance in a musical context as I rehearse. I strive to poem by Dylan Thomas read by Richard Burton, and
include subjective, emotional adjectives to justify the need that the piece was written to honor the loss of a young
for objective refinement. The goal always is to give students life. The opportunities for artistic enrichment and human
an artistic, emotional reason for correcting flaws. Here are connections are limitless. They should be core to our
a few examples: message to students.
Instead of saying “Crescendo more leading up to Letter B” One other thought I would submit to you would
perhaps reframe the comment to something like, “Let the be the notion of occasionally performing easier music.
dynamics of the music grow in anticipation of the majestic You heard me. Play less technically challenging music.
Eb chord at Letter B. And, when we arrive at Letter B Prepare and perform music that is expressive rather than
make sure there is beauty in your sound.” Yes, it’s a few impressive. Instead of continually ratcheting up the technical
more words, but they paint a picture of what we hope to performance demands from time to time, prepare a piece
achieve musically. It has been my experience that students that simply allows students to enjoy their musicianship.
retain more if your challenges are presented with a musical Select a piece of music that is immediately accessible without
purpose. repetitive drill and tedious attention to technique, range and
Or possibly, instead of “Clarinets, you are rushing the tuning issues. Repertoire under this heading affords students
phrase that begins in Measure 34” consider, “Clarinets take the opportunity to immediately explore the interpretive
more time and love every note beginning in Measure 34.” beauty and expressive qualities of the music.
Or maybe an alternative to “Brass, don’t be so loud and When we are together at the TBA Convention/Clinic
heavy at Letter C” might be, “Brass, can you play with less this July, I hope to expand and explore in greater depth
volume and let the music dance with happiness.” those strategies we might employ to elevate what we share
In summary, strive to use words that are filled with with our students to the highest level of artistry. Together
feelings and emotions that instill an awareness of the we can deepen our culture and our students will be the
humanness of the music as opposed to the dispassionate beneficiaries. I hope you will join me.
approach of simply chipping away at obvious flaws. For I began this rambling with a quote from John Steinbeck.
some this must be an acquired skill but it is well worth Let me close with an excerpt from the equally inspiring
the effort. words of the composer Warren Benson.
Another strategy one might embrace is the utilization of
the bountiful, technological resources at our fingertips. I ….I wish I could hear more wind conductors
couldn’t imagine preparing Frank Ticheli’s Cajun Folk Songs and instrumental teachers, using better and
without the students hearing the original Lomax recordings larger vocabulary that relate to beauty,
of the haunting melodies that served as the inspiration for to gentleness, strength and power
this Grade III masterpiece. Such resources are out there. …the exultation of great happiness
Playing Eric Whitacre’s Lux Arumque or Sleep without …the sweetness and purity of lullabies
exposing students to the powerful text or the virtual ….the resonance of history
choir performances of these pieces is incomprehensible. …bringing something to life from cold print
How could you rehearse and perform Movement For …living music
Rosa without encountering accounts and footage of the …moving music.
events that were the stimulus for this emotional work? Or
how could you begin the process of learning Do Not Go —WARREN BENSON

Bandmasters Review • April 2018 18 Texas Bandmasters Association