THE VASA

WIND ORCHESTRA2009-2010

Syllabus

Fall 2009/Spring 2010

To: Members of The Vasa Wind OrchestraFrom: Dr. Douglas Nimmo, Director

<<PLEASE READ ALL OF THIS—THANKYOU!>>

Welcome to a great year of music in the GUSTAVUS WIND ORCHESTRA! In particular, a big WELCOME to all new musicians! I am excited to include all of you as successful individuals and musicians, and as members of our fine organization. I look forward to lots of personal and collective musical growth, fulfillment, and joy!

Rehearsals and Sectionals

Monday Tuesday Wednesday Thursday FridayRehearsal Rehearsal Rehearsal5:30-6:20 PM 5:30-6:20 PM 5:30-6:20 PM

The Schedule

The Fall Semester schedule commonly has a few alterations from “the norm.” Commonly, we will not rehearse on the final class days prior to Fall Break and Thanksgiving Day. Thanksgiving Week, we will have full rehearsal on M only. Also, the last two weeks of the term may have slightly altered rehearsal schedules (stay tuned).

N.B.>Rarely, we may need to schedule an extra rehearsal. In some years, we have accomplished this by scheduling a rehearsal at 9:30-10:30 p.m. on Thursday. Typically, this happens once or twice time during the academic year. Please be prepared for this should the need arise. As is our practice, there will be one required sectional rehearsal per week arranged and directed by the section leader. Section Leaders, this is very important; it is your responsibility. For all rehearsals and sectionals, it is very important that you are warmed up and ready to play at the scheduled time. All musicians are expected to be in the rehearsal hall warming up by 5:25 p.m. on each rehearsal day. Please be very focused about being on time, ready to play. This is an issue of preparation, respect for the musical process, and respect for each other.

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Grading

Grading is based on your personal and musical commitment/contribution to the development of the ensemble attendance/timeliness to rehearsals and sectionals, and musical effort/demeanor throughout each rehearsal. If you are late on three or more occasions to rehearsals, it will impact your grade. Contribution/commitment to the wind orchestra is of high import; our ensemble is about all of us involved in the study of music. I expect that you overtly offer your best effort on a daily basis via appropriate preparation. I will also encourage you to keep a journal of your thinking, learning, growth and observations in Gustavus Wind Orchestra over a broad range of music and music-related topics. Journal writing is a very helpful method by which people are able to assess their own comprehensive growth. Because it is impossible to make up a missed class, attendance is a must. In a performance-based class, attendance has legitimate educational purpose. Missing a performance will have a considerable impact upon a grade. Do not be absent for any dress rehearsals (last rehearsal prior to a performance). Caps/Hats may not be worn in rehearsal.

A - exemplary musical contribution, probing and thoughtful participation, not more than one unexcused absence, on time and prepared for each rehearsal and sectionalB - consistently strong musical contribution, probing and thoughtful participation, not more than two unexcused absences, consistently on time and prepared for each rehearsal and sectionalC - inconsistent musical contribution, unthoughtful or “detached” participation, not more than three unexcused absences, an emerging pattern of lateness and lack of preparationD - poor evidence of musical contribution, “detached” participation, not more than four unexcused absences, established pattern of lateness and lack of preparation

Personal Day: If you would like to use a "personal day," (one per semester, but not in January) please plan for it, letting me know one week in advance. This encourages you to plan ahead and also helps me plan rehearsals—thank you! (A personal day option was created to assist an individual desiring to attend a very special event, which would normally conflict with rehearsal time. A personal day is not an “entitlement.”) If you are a person who is absent from rehearsals once per week due to a lab or other class conflict, you are not eligible for a “personal day” for that semester. In addition, lab conflict issues typically require using the “satisfactory/unsatisfactory” grading option. Please give me this information (lab conflict) in writing (copy to the Gustavus Wind Orchestra Secretary) for clear records.

Principal players/section leaders are responsible for planning/executing sectionals (ten per semester) and general section leadership. A principal player’s grade, in part, is influenced by his or her leadership in that role, including attendance at weekly GWO Council Meetings (arranged).

Traveling Home? If your “ride is leaving early” to go home, please make arrangements for a different ride. “My ride is leaving early” is an unexcused absence.

AttendanceAttendance will be taken at all rehearsals and sectionals. All absences must be excused in advance, via the following: 1) a written reason to me, and 2) a brief discussion with me. Late arrivals to rehearsal require a brief discussion with me. Lateness to rehearsal will affect a student’s grade. Thank you for your help in this. Stop by my office (FAM 102) or call: (933-7340).

Concert DressPlease read last page of hand out

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For 2009, everyone must have his/her concert attire for our first performance on Tuesday, October 6th (Nobel Conference Performance).

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2009-2010 Performance Schedule*Be sure that you check your schedule very carefully, to be sure that you have no conflicts with the following dates, including conflicts with theatre productions.

Nobel Conference October 6, Tuesday, NOON (12:35 performance)

Family Day October 11, Sunday, 12:45 p.m. warm-up (1:30)Christ Chapel(There will be a special rehearsal on Saturday, October 10th in Christ Chapel:

Time TBA, but probable time is 7:15AM—IMA set; 8:00-8; 45—rehearsal (Gustavus Wind Orchestra), 8:45-9:30 AM—rehearsal (Vasa Wind Orchestra)

Gustavus Honor Band XX—November 1 & 2, 2009 (VWO does not perform, but your help is needed!)

Fall Concert November 20, Friday, 6:45 p.m. warm-up (7:30) Christ Chapel

Chapel Performance December 8 (The Winds of Christmas), Tuesday. 10:00 a.m. warm-up (9:40)

Gustavus and Vasa Wind Orchestras “End of Winter” Concert: March 19, Friday, 7:30 PM (featuring the soloists with the annual Tubonium Conference. This is a rare opportunity .

GWO/VWO Spring Concert, May 1, Saturday, 7:00 PM, Christ Chapel

NB: A minimum grade of C- is required for all music majors for each course in the major field.

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Statements of ValueThe Gustavus and Vasa Wind Orchestras

As we begin a new academic year it is important that we identify, discuss, and internalize the various contributing factors of excellence and greatness that make membership in the Gustavus or Vasa Wind Orchestra a life-changing and life-long experience.

Important Thoughts

“In a nutshell,” being in the Gustavus Wind Orchestra is about studying and performing outstanding literature with some of the finest people to be found anywhere! That is, GWO study and performance is always about us as a community of musicians. Nevertheless, each individual member of the ensemble is of very high value, both musically and personally. By audition, you have earned a place of membership; by definition, you hold both privilege and responsibility. As a mature young adult, your personal study via daily practice/preparation is essential and expected. The rehearsal is primarily the place of “putting it together,” rather than technical drill. That part (technical drill) of study ought to be carried out in the domain of personal and sectional study. The operative word is preparation. This is an issue of appropriate “musician maturity.”

With great commitment (that is, we give up any right to give up, reduce, or quit our unrelenting effort) and high expectations (we move the line of excellence and greatness forward every day), the future musical growth of the Gustavus and Vasa Wind Orchestras is unlimited. I am delighted that you are a member of our organization and I salute all of you as we prepare for an outstanding academic season. Get ready for an incredible, life-changing experience (ILCHE)!

Rehearsal and Ensemble Etiquette

The following are a few items that are essential as we approach each rehearsal. There is no way to list every type of appropriate or inappropriate rehearsal behavior. However, an attitude of respect for the music and for one’s fellow musicians is essential to a great ensemble. The following are “rules of the road.”

1. Arrive to rehearsal at least five minutes ahead of the scheduled beginning of the rehearsal. Use the time to warm up thoughtfully, so that you are physically and mentally prepared for the downbeat. Be prepared to play the most difficult passage in the music during the first five minutes of the rehearsal.

2. Before the rehearsal begins, turn off all cell phones and other electronic communication devices. All electronic communication during rehearsal is prohibited (texting, twittering, etc.) This is an issue of respect for the music and for each other, personal maturity, and adult responsibility.

3. The order of music will be on the board prior to each rehearsal. Before rehearsal begins, order the music on your desk.

4. Have your pencil and other ancillary items (mutes, valve oil, etc.) “at the ready.” (Good and simple preparation)

5. When the conductor asks you to “mark that accent” or gives some other instruction to mark one’s music with a pencil, do mark the music immediately. Marking is not optional. When we mark, we remember the changes that we have made. Marking avoids hundreds of future mistakes.

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6. As we begin to warm up and create musical sounds, become engaged in the study effort by thinking and listening and responding to every sound. As great musicians, we can—and must—do this.

7. Talk only about the music and talk only when necessary. This is an issue of respect for the music and for each other, personal maturity, and adult responsibility.

8. Work hard to remain focused all the way to the end of the rehearsal. That is, play your best at the “bottom of the ninth inning” (the last ten minutes of the rehearsal) even when you are physically, mentally, or emotionally tired. Great music making is very challenging—BUT—the rewards are truly filled with majesty.

9. As the great conductor Arturo Toscanini said, the rehearsal space is a “temple.” What we do in rehearsal commands our very best: in preparation, in listening (both to what is performed and what is said about the performance), in “trying again,” in attentiveness, and in personal maturity. This is “big stuff,” and when we pursue the excellence and greatness that lies inside of great music, the rewards and fulfillment that come to us are nothing short of magnificent!

Communication

While my first choice in good communication is always “in person,” there are many times when that option is not possible. Sometimes, I may choose to contact you on your cell phone. However, nearly all my “out of rehearsal” communication will be handled via email. Email is a highly valid means of communication, and remains the primary communication resource for adults in the professional/academic world. Many of you have phones that receive email, but all of you have access to computers. I promise that I will send messages to you only when necessary or when offering a “thank you” or “congratulatory” comment. I will not send messages via other social networking means (Twitter, Facebook, My Space, etc.) SO – I will expect that you check your email daily. I will also expect that you will read your email promptly, and if a response is requested, I will expect that you will respond. I know that may seem unnecessary to say, but unfortunately, there are otherwise fine young students, who do not read their email and do not respond in a timely manner. Such conduct is unacceptable. It is reasonable to expect that you (as college level adults) will handle your communication responsibilities in a thoughtful and prompt manner.

Other Communication

Studying music in GWO or VWO is a magnificent and life-changing experience. Nearly every day, a great sense of wonder and joy are part of our rehearsals/performances. But sometimes, something may “go wrong,” and I may not even be aware of the situation. It may be something that has nothing to do with me, or indeed, I may be the source of the issue. Regardless—if something is not right, please give me the chance to make it right. To do that, simply schedule a time to visit. I promise to be a good listener.

And of course, when things are going great, please share the good news!

Postscriptum: As part my spring sabbatical leave, I traveled to the Sibelius Academy in Helsinki, Finland, to observe, interview, video record, and gain insight toward what makes the conducting program at the Academy so successful. Following my return to Saint Peter, I invested a lot of time editing video, writing, and reflecting upon the experience in Helsinki. I also wrote to Juhani Poutanen, the Intendant at SA, to ask his “big picture” perspective on what makes the SA conducting program great. I think his response has value for the Gustavus and Vasa Wind Orchestras, too.

From Juhani Poutanen, Intendant at the Sibelius Academy in Helsinki, Finland

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(italics are added)

One basic factor for good results here at the Sibelius Academy conducting class is our conducting class orchestra. The motivation of players in the orchestra and the conducting students combined to the challenge which the rehearsing situation makes when trying to survive is every year leading to some kind of family community which many students remember long after they graduate.

Another element is the group lesson when looking the videos together with the students and the teacher. There is often much time for a long talk afterwards  because  the learning process and new ideas need quite often much time. It is hard for new students to get used to be estimated  in front of your teacher and other students but  in the family you can make mistakes; infront of the professional orchestra it is even much harder.

In my opinion the modern way of studying gives the student feel not only motivated but also gives time to understand your inner mind. I asked one of our foreign students in the class what he thinks is different comparing our conducting class to other classes. He said it is the peace in the mind; little by little he is doing more right things before the orchestra and the stress tolerance is now better than before, which he could easily see looking the videos.

There are no extra gimmicks in our education but more like love for music, hard work and study, inner self-knowledge and honest mind.   

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THE VASA

WIND ORCHESTRAOutcomes

The student will:

1. Demonstrate a useful and evolving artistic instrumental tone in all registers, styles, and tempi, at all appropriate dynamic levels.

2. Demonstrate a competent and evolving skill/artistic level of aural sensitivity, insight, discrimination and perception. These skills will include topics of proper breathing techniques, pitch, balance, blend, attack/release, rhythm and rhythmic energy, pulse, harmony and dissonance, balance and blend, form and architecture, shaping of single notes and phrases, tempo.

3. Demonstrate useful and effective interpersonal skills as a member of the Gustavus Wind Orchestra community. Such skills will include respect for the rehearsal process (via careful artistic preparation), musical inclusivity/awareness, respect for other members of the wind orchestra, and demonstrating a strong commitment to musical/artistic goals as the highest priority.

4. Demonstrate a commitment/contribution to the process of musical learning via appropriate preparation of the literature studied, attendance and timeliness (being on time for rehearsal and related events) and overt classroom involvement.

5. Exhibit a pattern of critical thinking and perception/reaction to artistic growth regarding the music studied.

ObjectivesFirst Order

The student will:

1. Understand one's musical/artistic and ethical responsibility as a member of the Gustavus Wind Orchestra.

2. With regard to public performance, feel confidence and enthusiasm.

3. Grow toward an enthusiasm for self-development and broad excellence as a performer

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4. Understand how reading music, careful warmup, a deep sense of wonder, daily practice, setting musical goals, sectional rehearsals, full rehearsals, thoughtful preparation, and interpersonal communication are all interrelated and essential elements of the successful and seasoned (mature) musician.

5. Understand the value of being inspirational toward one’s fellow musicians.

6. Love performance as an art, which demands much beyond technical proficiency.

7. Continue to redefine (upward) one’s level of competence. IOW, excellent musicians, as an inherent part of their collective personas, engage in “musical risk-taking,” as part of an on-going effort to grow as artists.

8. Make it possible for musicians to experience great music as lifetime enrichment.

9. Understand the value of studying a wide variety of compositional styles.

10. Realize that involvement in the Gustavus Wind Orchestra is a complex, invigorating, and challenging endeavor, and one that provides fulfilling life experiences and impacts one’s future in a most positive manner. (In one view, membership in the Vasa Wind Orchestra is a point of departure.)

11. Sees the value in a patient, yet steadfast focus on the musical goals of the ensemble.

12. Have in mind a musical/performing ideal for which the group with which (s)he endeavors must strive.

13. Be open and curious about new and unusual music.

14. See the value in regular, sometimes long and difficult (and tedious), but always thoughtful periods of contemplation for assessing both present and past efforts, re-evaluating one's perspective, and setting dynamic and valuable future goals.

15. Expect musically exciting happenings in rehearsal.

16. Understand that the whole of music is always greater than the sum of its parts (What are the ramifications of this for the musician in terms of music and colleagues?)

Second Order

The student will:

1. Demonstrate competency in performing all major and minor scales (three forms preferred) and chromatic scales from memory.

2. Execute proper note attack, sustain, and release in a broad variety of musical styles (expressivo, non-expressivo, legato, legatissimo, staccato, staccatissimo, etc.)

3. Demonstrate a consistently beautiful tone quality in all appropriate ranges of one’s instrument.

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4. Execute proper style technique in performing expressivo, non-expressivo, staccato, legato, marcato, and variations thereof.

5. Perform mixed meter and asymmetrical examples (5-8, 7-8), demonstrating competency with the various possible beat groupings.

6. Define commonly employed musical terms and markings in a score.

7. Demonstrate an understanding of tuning and balancing a large ensemble, assuming full instrumentation.

8. Identify errors of pitch, notes, etc. in instrumental rehearsal.

Minnesota State Standards (Fall, 2005)Gustavus Wind Orchestra

(1) Identify and analyze representative musical forms, styles, performance contexts, performance media, and composers and compositions of western music, and describe the musical traditions, context, and characteristics of diverse and representative world cultures;

We will study many diverse styles and forms of music, representing many different performance traditions. The music will include that which is familiar, and also music that is challenging and provocative. Stylistic description may be include the following terms: meditative, unsettling, jazz-based, classical, African, non-determinant, and celebrative. The music may be racing fast, thoughtfully slow, whispering soft, and breathtakingly loud. I hope that the juxtaposition of these many elements will provide an outstanding and memorable arena of musical learning for you.

(2) Demonstrate a basic knowledge of vocal development and production and instrumental techniques and acoustics;

It is important that each student understand the basic and advanced tendencies of his/her own instrument (what notes tend to be sharp or flat, which notes are unstable or “stuffy,” what range(s) of the instrument is most naturally beautiful, etc. Moreover, it is important for each student to understand how to make the instrument “do what it should do.” In other words, do you know and can you demonstrate effective use of alternate fingerings, use of the trombone “legato slur,” use of clarinet “hand to hand” fingerings, use of multiple tonguing among the brass instruments, employment of the saxophone altissimo register, effective and artistic use of vibrato, etc.?

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Principles for Principals (section leaders)

A Principal/Section Leader

Is, by definition, a LEADER Is an outstanding “evolving” musician (practices daily, IOW—is a serious student of music) First to arrive, probably last to leave Positive & friendly Is a “glass is half-full” kind of person Is a good listener Is a good thinker Knows when to act and does so Learns the music first; knows the music very well Plans for what is right for the section and the wind orchestra (which may not always be popular) Is organized Is efficient in rehearsal and sectional Displays effective and appropriate decorum in rehearsal and sectional Organizes, plans, and executes approximately ten sectionals in a fourteen-week semester (A principal

player’s grade, in part, is influenced by his or her leadership in that role.) Understands HOW to plan for, and effectively run a sectional (If you need help, PLEASE ASK!) Communicates regularly and effectively with the conductor; also keeps the conductor informed about

the good and bad within her respective section Expects his section to number the measures as soon as it is clear the piece is to be programmed for a

concert Attends all Wind Orchestra Council meetings. In the case of a class conflict, the co-section leader or

other may act in place of the SL) Has a high work ethic. IOW, she or he knows the value of “Paying the Full Price.” Enjoys being around her musical section mates Seeks to grow daily as a musician While patient, knows and actively pursues the artistic goals for her section Other?

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Gustavus and Vasa Wind Orchestra Concert AttireAll members of the Gustavus and Vasa Wind Orchestras must purchase their own performing concert attire.

Women's Concert Attire Policy:1) Must be an all-black, non-shiny long skirt (low or no “slit”)2) Top (separate) must be “pull over” and must have sleeves of at least 3/4 sleeve or longer with boat neck or round neck (not V-neck, not turtle neck): See Boat Neck Top at “Concert Black” at http://www.concertblack.com/designs2.html (“lightweight knit jersey,” Do not order the stretch velvet)3) Shoes must be black, closed toe, flat (no high-heel) with black nylons.4) Remember to keep the top as simple as possible (no sequins or sparkles)Be sure the top is long enough so that there is no waist area skin showing at any time

Questions to ask yourself a. Is the attire professional in appearance, e.g. is it appropriate for the concert stage?b. Is the concert attire elegant?

5) Percussionists and bass clarinet players are the only instrumentalistswho may choose to wear black concert trousers instead of a skirt. 6) Avoid jewelry. In particular, do not wear necklaces. Stud earrings are acceptable, if they are discreet. Do not wear “long” earrings.7) If you have questions, please contact Dr. Nimmo or a wind orchestra officer.

Men’s Concert Attire Policy:1) Tuxedos must be a standard tuxedo, no "tails". (Purchase a style thatwill last the longest.)2) You must have a tuxedo shirt with black studs, no ruffles. (Purchase an extra for tour.)3) You must have black dress shoes and black socks (please remember that Doc Marten's and other black casual shoes are not dress shoes).4) You must have a black cummerbund and a black bow tie.5) Avoid jewelry.5) If you have questions, please contact Dr. Nimmo or a wind orchestra officer.

An excellent outlet for purchasing of men’s concert attire is:“J Long’s” in the River Hills Mall in Mankato (507) 345-8885.

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GWO/VWO Points of Excellence

The BIG Picture: Excellence is pursued in every sound.

The BIG Picture involves “A highly developed aptitude for PLANNING, PERCEIVING and RESPONDING in a THOUGHTFUL and ARTISTIC manner to what one hears, and to what one expects to hear—which results in an incredible life-changing experience for both musicians and audience.”

The BIG Picture begins with one note, and leads to a life style of pursuing excellence—with every note. Doing this involves ALL our capabilities—thinking, listening, perceiving, responding, wondering, imagining—and of course, doing. We are going on a journey, which will require all that you have to give, and will change your life in a wonderful way, so that you are never the same again.

How we think about what we do makes a significant difference in what we receive for our efforts.

To begin:

First, pursue excellence in all sounds involving basic elements of music:

Melody Harmony Rhythm and Counting Tempo Tone Dynamic Tessitura

Also--pursue excellence in sounds involving elements of music nuance:

Attack Sustain Release Emphasis Note Shape Intonation and Pitch Center Note Front/Back Note Shape Transparency/Opaqueness Density/Buoyancy Rubato Balance Blend Silence Stylistic Accuracy Phasing Accuracy

Might there be other points of excellence?

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Goal Setting—Dreaming about the Future

WRITE your goals: Ink ‘em. Put them on paper. Look at them often. Put your goals list in a place where you will see them often (back of your closet door, pinned inside your instrument case, etc.) In other words, think ‘em.

Ink ‘em and think ‘em.!

I. List the five major areas of value in your life—prioritize. You may have ten or twenty major areas, but choose the top five MOST important (school, exercise program, music, family, etc., are examples)

II. Write least one (perhaps two) major goals in each of the top areas per month.III. Write at least two one-year goals in each area.IV. Write several five-year goals in each area.V. Write several ten-year goals in each area.VI. Write several twenty-year goals in each area.VII. Lifetime goals. During your life, what would you like to do? Write as many lifetime goals as you

would like. Dream big!

Update the monthly goals on the first day of each month. Update all the others once per year (perhaps on January 1st of each new year, or on the first day of September each year, or on a date that YOU think is important).

In all of this, remember that time and money must not be considered as obstacles. Think only of the goals. If you think of time and money, you will limit the possibilities. Tonight, begin your goals sheet. Sit down, turn off your fear-o-meter, and dream. Dream! I encourage you to do this alone—let it be a private enterprise.

If you have never done this, you will not believe how much fun it will be, AND how much it will help you to focus on what is most important in your life. Take your time (it might take a half hour or more), for this is about your Future—the rest of your life!

A Closing Thought

I like to think that as we begin each rehearsal, it is something like planning a magnificent journey or adventure. We are down at the dock, stocking our very sea-worthy and beautiful sailboat (the wind orchestra) with the finest provisions: beautiful tone, clear and facile technique, knowledge of the composers we are about to study, wonderful intonation, splendid aural acuity to hear with great perception, nimble fingers and tongues, and a bullet-proof sense of pulse. We bought those provisions at the daily warm-up and in the practice room. We paid top dollar—no discount—no Sam’s Club here. We want the very best—and the very best is expensive. And as rehearsal evolves each day, we take up and coil the lines, push away from the dock, hoist the “jenny” and the main sail. We set our course to “point high” into the wind, and sail over the horizon, with absolutely no intention of ever coming back! Imagine that. We are on an incredible journey that is never going to end, even though it begins anew each day.

See you in rehearsal (down at the dock)--djn

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