Page 9 - 2018-BMR-September

Talk Less and Teach More

one of the music to occur on beat one. Make sure you Think of a track sprinter getting ready to get in the
are ready to begin class immediately. Be prepared, have blocks to run the 100-meter dash. The starter calls
everything ready to go. Order of rehearsal on the board “Runners to your mark.” Here the director stands on the
or projector. Define rehearsal goals. At the end of class be podium, gives final instruction or reminder with hands
sure to allow students ample time to put their instruments to side. Students get ready, instruments in approximate
and equipment away in order to get to their next class or playing position. “Set.” Director raises hands up to set
activity on time. position. Track starters do not keep runners in the set
3. Condition your student to respond to your arm position for too long, or their muscles tighten up or cramp.
motions from day one. There is no need to snap your Same for musicians. Smooth muscles around the shoulders
fingers or worse yet, beat your baton on your music stand. begin to tire and hurt. One to two seconds is sufficient.
It may take a few attempts to get them to follow you, but it “Go.” Director breathes while giving the prep beat and the
will be well worth the investment. music starts. You may have to try this a couple of times to
4. Be specific when giving instructions. Be clear and get everyone on board, but once it becomes the norm, you
logical. Begin with the instrument or section. Next, identify will be amazed at the results.
the nearest rehearsal letter or measure number and direct 8. Look at your musicians by keeping your head out of
them to the measure(s) of concern. Identify the note(s), the score. Know your music well enough that you do not
rhythm(s), dynamic, articulation, etc. that are in question. need to constantly look at it. Maintaining eye contact with
Tell them what you heard and let them know verbally or by your students keeps them accountable and on task.
modeling how you want the area performed. 9. Use whiteboards or other visuals to explain or clarify
5. Tell them exactly what to write in their music. Circling information. A picture is worth a thousand words.
something only calls attention to the spot. Having students 10. Have an occasional non-verbal rehearsal. Nobody
write in a sharp or flat before the note, placing an “X” speaks, and all instructions are mimed with minimal
through an existing dynamic and marking a new one, or amounts of information presented on the whiteboard or
placing an up or down arrow to remind them of intonation projected. You don’t even have to let them know it is going
tendencies gives them specific information. to happen. Just don’t speak or let them know that you have
6. Do not change your mind. If you find that you lost your voice. The intensity in the room will be high, and
indicate you want to start at letter C but really wanted the students will have a great time.
to start at letter B, don’t change your mind. Start at letter Keeping your speech to a minimum in your rehearsals
C, play a bit and then stop and take it back to letter B. will help maximize efficiency and lead to increased
Changing your mind can be confusing to players. enjoyment in the music making process for your students.
7. Do not talk too long with your hands in set position.
We get the students ready to start and then ask the Dr. Charles T. Menghini is a Senior Educational Consultant for Conn-
Selmer and is a Co-Author of the Essential Elements Band Method
trumpets if they have their mutes ready. We ask, “Who is published by Hal Leonard. Dr. Menghini is President Emeritus of
playing cymbals?” We remind the saxophones to watch VanderCook College of Music in Chicago. He served as Director of Bands
this time. The list goes on and on. Soon the instruments from 1994 to 2017 and President his final 13 years there. A native of
Iron Mountain, Michigan, Menghini earned degrees from the University
fall from the set or playing position, When you do finally of Missouri-Columbia and the University of Missouri-Kansas City where
start, you will find that there were many missed entrances he earned his Doctorate in Wind Band Conducting. He credits Dr. Tim
Lautzenheiser, Gary Green and Gary Hill as being most influential in
or bad attacks. We have conditioned our student to ignore
his career. Prior to his appointment at VanderCook, Menghini taught
our set position. high school band for 18 years in Missouri and Kansas. He serves as an
educational member of the Music Achievement Council for NAMM and
remains active as a clinician and conductor.

Bandmasters Review • September 2018 7 Texas Bandmasters Association