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BOOK & DVD: Teaching Instrumental Music: Developing the COMPLETE Band Program! by Shelley Jagow! BOOK: Tuning for Wind Instruments: A Roadmap to Successful Intonation! by Shelley Jagow

Top 10 Teaching Tips!Developing the COMPLETE Band Program!"

Participants will explore key points of successful band rehearsal techniques gathered from some of the best music educators in the field. This session will share tips for approaching common performance errors in an effort to prioritize music making in the rehearsal. Whether a beginning or veteran teacher, this clinic will help you focus on key teaching ingredients for administering effective rehearsal techniques.

Tone quality is essentially influenced by five basic factors (Jagow, 2007, p. 34):

1) _______________ concept of tone for each instrument,

2) _______________ concept of tone for their instrument,

3) student’s ability to produce a characteristic tone,

4) ensemble _______________ and _______________, and

5) the color and texture influenced by the nature of the repertoire.

SHELLEY JAGOW Wright State University; Department of Music ; 3640 Colonel Glenn Hwy. Dayton, OH 45435 Phone: 937-775-2178 Email: shelley.jagow@wright.edu Website: www.wright.edu/~shelley.jagow/index.html

& wwwwb & wwwwb#& wwww#

& wwwwbb -31 +2 -14 +11 +2 +16

-31 +2 -14

+26 - 4 -14

& www & wwwb & wwwbb & www#& wwww & wwwwb & wwwwbbb& wwwwb

& wwww & wwwwbb & wwwwbb & wwwwbbb

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Major

Minor

Diminished

Augmented

Major 6th

Minor 6th

Diminished 6th

Dominant 7th

Dominant 7th (+9) Major 9th

Diminished Major 7th

Dominant 7th ( 9) b

Major 7th

Minor 7th

Diminished 7th

Minor 7th ( 5) bbDominant 7th ( 5) Minor Major 7th

Dominant 7th ( 5) Major 7th ( 5)

˙#˙#

+2 -14

+2 +16

-17 +16

- 4 -14

+2 -14

+2 +16

-17 +16

-31+2-14

+19

+14

-16

-12 +2 -14

+16 +2 +16

+16 -17 +16

-17 +16 +19

+4 -31 +2 -14

+16 -17 +16

& wwwwwb+4 -31 +2 -14

+5 -31 +2 -14

Table 20: Recommended Pitch Production on Mouthpiece /Reed Alone

INSTRUMENTCONCERT PITCH ON MOUTHPIECE / REED ALONE

Flute

• A on stopped or open head joint

Oboe

• Reed crow should sound a B or C

Clarinet • Soprano: C

• Bass: F#

Saxophone • Soprano: C

• Alto: A

• Tenor: G

• Baritone: D

Bassoon• Reed crow should sound a G or A

HTGNERTS DEERDEERERUTAGILECEIPHTUOMTNEMURTSNI

Oboe N/A N/A Beginner/Intermediate:• Jones or Charles

Advanced:• Hand made• Jones• (preferred reed cut is 10.5 to 11 mm

in diameter; tube length should be 47 mm and total reed 70 mm; tip width ca. 7mm)

• Cane should be of medium density.

Beginner:• Medium

Intermediate/Advanced:

• Medium-Hard to Hard

Bassoon BOCALBeginner:

• Heckel #1-CC or CD

• Fox #2-CVCIntermediate/Advanced:

• Heckel #1-CC or CD

• Fox #2-CVC

N/A Beginner/Intermediate:• Jones• Charles

Advanced:• Hand made• Jones

• Cane should be of medium density.

Beginner:• Medium

Intermediate/Advanced:

• Medium-Hard to Hard

Clarinet Beginner:• Vandoren B45• Vandoren 5RV

Intermediate/Advanced:

• Vandoren B45• Vandoren 5RV

Bonade (inverted)Rovner (Eddie Daniels)

Beginner:• Rico Royale

Intermediate/Advanced:• La Voz • Vandoren 52 or V-12• Rico Grand Concert Select

Beginner: • 2 or 2 1/2

Intermediate:• 3 or 3 1/2

Advanced:• 3 1/2 or 4

Bass Clarinet Selmer C*Charles BayVandoren B45

BonadeRovner (Eddie Daniels)Charles Bay

Vandoren (traditional)Rico Grand Concert

Beginner: • 2 or 2 1/2

Intermediate/Advanced:

• 3 or 3 1/2

Saxophone Selmer C* (S-80) Rovner(Eddie Daniels)Bonade

:rennigeB)lanoitidart( nerodnaV• 2 or 2 1/2

Intermediate/Advanced:

• 3 or 3 1/2

Trumpet Bach Standard / Yamaha EquivalentBeginner:

• Bach 7C / Yamaha 11C4 Intermediate/Advanced:

• Bach 7C / Yamaha 11C4• Bach 3C / Yamaha 14B4

(It is common to use the same mouthpiece for Bb and C trumpets.)

Baritone /Euphonium

Beginner:• Bach 11 or 11C (1st year)• Bach 9 (2nd year)

Intermediate/Advanced:• Bach 6 1/2 AL• Schilke 51D (available for small or large

shank horns)• DEG BB2 (Brian Bowman Signature

Series)

Horn Beginner:• Yamaha 30C4• Holton MDC

Intermediate/Advanced:• Yamaha 29D4, 30C4, or 31D4• Giardinelli C8 or C10

Tuba Beginner:• Bach 22 or 24• Yamaha 65

Intermediate/Advanced:• Bach 22 or 18• Yamaha 66 or 67C4

Trombone * Beginner:• Bach 12C

Intermediate/Advanced:• Bach 6 1/2 AL (with small shank)• Bach 5G or Benge 6 1/2 ALL (with large

shank) (Bach 3G or 4G is recommended for

Bass Trombone )

*NEVER use an adaptor for a mouthpiece to adapt a small bore to a large bore instrument

Group 1 Oboes, Eb Clarinets, 1st Clarinets 1st Trumpets Group 2 2nd & 3rd Clarinets 2nd & 3rd Trumpets Group 3 Alto Clarinets, Alto & Tenor Saxophones Horns, 1st Trombones Group 4 Bass Clarinets, Bassoons, Baritone Saxophones 2nd & 3rd Trombones, Euphoniums, Tubas

Group 1 (Soprano)

Group 2

(Alto)

Group 3 (Tenor)

Group 4

(Bass)

90+ Tables and FiguresDynamics ! louder dynamics = encourages pitch to play sharp*! softer dynamics = encourages pitch to play fl at*☺ when playing at louder dynamics , compensate for sharp pitch by relaxing the embouchure/lipping down ; (fl utes will compensate for a sharp pitch by directing air stream down and/or rolling head-joint in)☺ when playing at softer dynamics , compensate for fl at pitch by fi rming the embouchure/lipping up ; (fl utes will compensate for a fl at pitch by directing air stream up and/or rolling head-joint out)☺ Reeds: when playing at louder dynamics, compensate for fl at pitch by fi rming the embouchure

☺ Reeds: when playing at softer dynamics, compensate for sharp pitch by relaxing the embouchure* opposite pitch tendency for reed instruments, esp. saxophone and clarinet . (Although this pitch tendency can sometimes vary dependent on reed strength and embouchure .)

Practical Charts for Students & Directors (found in Developing the Complete Band Program (S. Jagow)

[Meredith Music Publications]

Repertoire: ____________________________ Composer: ____________________________

6 ms. after

E

Adjustment

Piccolo

Flute 1

R

Flute 2

R

Oboe 1

3-14

Oboe 2

English Horn

Eb Clarinet

Clarinet 1

5+2

Clarinet 2

3-14

Clarinet 3

3-14

Clarinet 4

Alto Clarinet

R

Bass Clarinet

R

ContraBass Clarinet

R

Bassoon 1

3-14

Bassoon 2

Alto Saxophone 1

5+2

Alto Saxophone 2

3-14

Tenor Saxophone

3-14

Baritone Saxophone

R

Trumpet 1

5+2

Trumpet 2

3-14

Trumpet 3

R

Cornet 1

Cornet 2

Cornet 3

Horn 1

3-14

Horn 2

R

Horn 3

Horn 4

Trombone 1

Trombone 2

Trombone 3

Bass Trombone

Euphonium

Tuba

Timpani

Mallet Percussion Vibr.

R35na

Mallet Percussion _______

Mallet Percussion _______

Director & Student Tools

(Instrumentation Calculator included on DVD)

COMMON PERFORMANCE ISSUES "1.Lack of Characteristic Tone Quality

• Tonal Vocabulary • Quality Recordings • Long Tones & the Mouthpiece • Factors Affecting Tone "

2. Improper Balance • Listening Priorities • “Basic Law of Sound” • Balanced Instrumentation "

3. Not Enough Evidence of Musicality • Encouraging the Heart; Encouragement Index • Key Concepts for Musical Interpretation "

4. Poor Repertoire Choice • You Are What You Eat! • The Q-Factor

Concert Pitch on Mouthpiece / Reed / Headjoint Alone

Flute

#Oboe

Clarinet

Saxophone

Bassoon

A: on stopped or open head joint; this is a good average pitch for young flutists to practice sustaining a controlled open sound. More advanced students could practice playing octaves in tune and then learn to raise and lower each pitch by as many cents as possible.C: Reed alone should "crow" octave C’sC: on Soprano F : on Bass Note: Pitch should be within +/- half step of pitch indicated.

C: on Soprano A: on AltoG: on TenorD: on Baritone

Note: Pitch should be within +/- half step of pitch indicated.

G or A: Reed alone should "crow" a G or A

Instrument

Download Charts: http://www.halleonard.com/meredith-tuning-for-wind-instruments-fingering-charts

BOOK & DVD: Teaching Instrumental Music: Developing the COMPLETE Band Program! by Shelley Jagow!BOOK: Tuning for Wind Instruments: A Roadmap to Successful Intonation! by Shelley Jagow

5. Significant Intonation Problems • Tuning Truths • Best Tuning Notes • Overtone Tuning • Pitch Barometer "

6. Little Evidence That Students Are Listening

• Are you giving them something to listen to? • Engaged Listening "

7. Lack of Dynamic Contrast • WYSIWY = What You See Is What You Get • Balanced Dynamics "

8. Improper Articulation • Aural Aids • Visual Aids "

9. Poor Releases • Internal Ensemble Pulse • Pulse-Release • Fermata Release • Stylistic Release • Score-Order Release "

10.Teacher-induced Issues (no eye contact, no connection to ensemble, etc) •Communicating Effectively and Genuinely

b b? &wC1

wG3

wC2

wC4

wE5

wG6

wC8

bbB

7

wD9

wE10

wG12

bbB

14A13

wC16

nB15

nw#

#F11

# b # # #b b bb b # #+2 -14 +2 -31 +4 -14 -49 +2 +41 -31 -12

bb

(Rehearsal Videos included on DVD)

BOOKS & DVD AVAILABLE AT ECKROTH MUSIC, HAL LEONARD, AND MEREDITH MUSIC

300+ pgs of “Tips & Tricks”

Download Tuning & Fingering Charts:!

http://www.halleonard.com/meredith-tuning-

for-wind-instruments-fingering-charts

Just Intonation Formulas: ChordsIndicates how many cents from ET tuning that the note must be Raised in pitch.

Indicates how many cents from ET tuning that the note must be Lowered in pitch.

+

&

&

&

&

&

wwwwMajor Major 7th

(MM7)

-14

-12+ 2

8:10:12:15 [Major triad + M7]

wwwwminor minor 7th

(mm7)

+16 + 2+18

10:12:15:18 [minor triad + m7]

i

+16 + 2www

10:12:15[minor triad]

wwwI

-14 +2

4:5:6[Major Triad]

diminished Triad(dim5)wwb w - 17

+16

using 7:5 for 5th

Dominant 9th(Dom9)wwwwwb

-14

- 31+ 2

+ 4

[Mm7 + M9]

-14

-12+ 2

+ 4wwwww

[MM7+M9]

+16 + 2

wwww[minor triad + m6]

wwwwminor Major 7th

(mM7)

+16 + 2- 12

[minor triad + M7]

-16wwww -14+ 2

[Major triad + M6]

+16

+18+ 2

+ 4

[mm7 + M9]

wwwww

Augmented Triad(Aug5)

www -27-14

using 25:16 for 5th

Dominant 7th +m9(Dom7 + m9)wwwwwbb

-14

- 31+ 2

+12

[Mm7 + m9]

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wwwwbDominant 7th(Dom7) or (Mm7)

-14

-31+ 2

using 7:4 for 7th[Major triad + m7]

����͟ǣ͜����������Ǧ���������������������ǡ�������������������������Ǥ

wwwwbDominant 7th(Dom7) or (Mm7)

-14

- 4+ 2

using 16:9 for 7th[Major triad + m7]

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wwwwbDominant 7th(Dom7) or (Mm7)

-14

+18+ 2

using 9:5 for 7th[Major triad + m7]

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Chart based in key of C Major

# #

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#

+16

- 12- 17

diminished Major 7th(dimM7) or ( M7)o

[dim triad + M7]

wwww#- 17+16

+18

half diminished 7th( 7) or (m7 5)bo

[dim triad + m7]

wwww - 17+16

+18

diminished 7th(dim7) or ( 7) o

[dim triad + d7]

wwwwb

+14

(added M6)

(added m6)

(added M9)

(added M9)

& w# wbD # E b

wE

wF

w# wbF # G b

wG

oror

or

or

or

or

or

If F If F If F If F If F If F

Alt./Side F#

Stable Tuning

Note

Stable Tuning

Note

& wA

w# wbA# B b w

B

wD

w# wbC # D bw

CA-keyavailable on some Baritones

*

Lip down/warm air.

If S, lip down/warm air.

First Octave

*

If S, lip down/warm air.

If S, lip down/warm air. If F

Lip down/warm air.

Note: The airstream can be “warmed” by voicing the syllable “haw”; maintain air speed.*

vS SvS

Saxophone Key Chart

Octave Key

2nd finger3rd finger

2nd finger

CE

B (Bis)b

B b

C

bE

D

#G

BB b

F (high)#

Fork/Spatula

F

C #

bE

F #

Palm Keys(LH 1st finger)

(thumb rest)

LEFTHand } [1st

fingerLH4thfinger(pinky)[

Thumb [

RIGHTHand } [1st

finger

[3rdfinger RH

4thfinger(pinky)[

indicates notes that are VERY FLAT in pitch.

indicates notes that are often Sharp in pitch.

indicates notes that are often Flat in pitch.

indicates notes that are VERY SHARP in pitch.

indicates notes most stable for tuning in band.

��������������������Ƥ������������add (GO).

��������������������Ƥ������������delete (STOP).

vS

vF

Stable Tuning

Note

F

S