Page 15 - 2018 June BMR

Rehearsal Strategies Employing The Yamaha Harmony Director Keyboard

Step Four: The student audiates once again as they information on this very important subject). The ensemble
prepare to play their instrument can also explore sonorities such as Major triads with an
Step Five: The student plays the pitch for 4 counts added sixth or ninth scale degree.
Try applying this drill to a single note, or to a sequence n The goal should be for the ensemble to become
of notes such as the circle of fourths. In his book, familiar with a variety of different vertical sonorities, with
The Creative Director: Alternative Rehearsal Techniques the director encouraging them to be flexible with their
(published by Meredith Music Publications), Edward Lisk balance and intonation in order to make each chord sound
suggests playing long tones through the circle of fourths as resonant and colorful as possible.
progression. Try this first in unison, until the band is able Application # 4 – Three-Note Chorales
to achieve a centered sound on all 12
chromatic pitches. Part Scale Suggested Instrumentation
A more advanced version of this exercise Degrees
involves splitting the band into two, three Soprano 8-7-8 Flute, Cl. 1, A. Sax 1, Tpt. 1, Euphonium
or four groups, with the groups playing Alto 6-5-5 Oboe, Cl. 2, A Sax 2, Tpt. 2, Horn 1,
different notes that form a chordal sonority. Tbn. 1
The band could start with simple open fifths Tenor 4-2-3 Cl. 3, Tenor Sax, Bsn. 1, Tpt. 3, Horn 2,
(i.e., one group beginning on concert B flat, Tbn. 2
and the other on concert F). The director Bass 4-5-1 Tuba, Bass Cl., Bari. Sax, Bsn. 2, Bass Tbn.
can utilize the audiation sequence as written
above, or omit steps two and three. Once the band can The three-note chorale is a useful vehicle to help
play the sonority of the perfect fifth with beatless tuning students refine chordal intonation. The exercise can be
through the circle of fourths, split the ensemble into three taught by rote, with the students finding their notes based
different groups in order to play major or minor triads. The on scale degrees in a given key. The key of B flat is a logical
following suggestions may be useful: starting point.
n At first, always have the lowermost voices (Tubas, Direct your students to center scale degrees 3, 6 and 7
Bass Trombone, Low Reeds) play the root of the chord. lower than they would with ET. The adjustments to scale
n Make sure the group playing the third of the chord degrees 2, 4 and 5 are relatively small, so the teacher should
knows whether they are centering lower (Major triads) or use their discretion in regards to how much information to
higher (Minor triads) than ET. supply their students about these scale degrees.
n Some chords will naturally be much easier to play The ensemble can learn each different part in unison,
beautifully than others. Be persistent with the more difficult with the teacher modeling as appropriate on the HD
chords (i.e., B Major, G flat Major), perhaps comparing them keyboard (making sure that the HD is set to Pure major
to the exemplar chord from Application #2. in the appropriate key). The audiation sequence from
n Once three-note chords are played successfully, Application #3 can be applied, giving the students a chance
the ensemble can explore four-note sonorities, such as to audiate these justly intoned intervals. When these
seventh chords. The Dominant seventh is one of the most melodic lines are performed with Just Intonation, they
important sonorities to spend time on. It is beyond the may sound a little out of tune to the students’ ears that are
scope of this article to discuss the intricacies of tuning and likely more accustomed to ET. The following suggestions
balancing seventh chords (see Jagow’s Tuning for Wind may be helpful:
Instruments: A Roadmap to Successful Intonation for more (continued)

Bandmasters Review • June 2018 13 Texas Bandmasters Association