building blocks to developing a comprehensive band …
TRANSCRIPT
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Alfred L. Watkins
Director of Bands (retired)
Lassiter High School
BUILDING BLOCKS TO DEVELOPING A
COMPREHENSIVE BAND PROGRAM
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LEADERSHIP CURRICULUM • Election of Student Officers (previous Spring • Purpose Appointments (principal players,
etc.) • Selection of Drum Major(s) and Section
Leaders • Criteria, Expectations and selections
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RECRUITMENT
• Contact with prospective freshmen • In letter form to parents/students during the
winter months • Always audition incoming players …MAKE IT A BIG DEAL!!
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RETENTION
• Make band the “cool” place to be • Each year must be a rewarding musical experience for the
students • Efficient management of rehearsal time is vital for student
retention • Too much practice will destroy esprit de corps • Your flexibility is key; you must respect your students and their
time
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MARCHING BAND • Purpose
To assist in (musical) esprit de corps in the community To assist in maintaining school traditions Entertainment at football games Musical education of your audience Performance of well-rehearsed music and drill
• Musical Components
Traditional, Drum Corps Style, others
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PROGRAMMING
• Music to be performed must be of the highest quality • Decisions must be based on many factors (i.e. skill in
group, instrumentation, strong/weak sections, solos, musical substance, organization, form, structure, etc.)
• Long term (months) versus short term (weeks) must be
considered
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CONCERT BAND • Music selection
Find symphonic music appropriate for group. Music should be challenging yet within grasp of most students.
Selection of music to highlight sections is encouraged
but not at the expense of the ensemble.
Music highlighting weak sections will strengthen them.
Broaden your horizons. Develop a library of reference recordings.
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BEFORE AND AFTER SCHOOL REHEARSALS
• Never rehearse the marching band more than the concert band/chamber.
• Required attendance
• Opportunity to develop and refine small group skills
Refinement of:
Literature, detailed work, uniformity and clarity of individual sound, matching
articulations, sectional and tutti balance, blend, timbral matching, refined pitch, note lengths, broader musical comprehension
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DIRECTOR PHILOSOPHY 101 • Comprehensive musicianship • Sectionals • Master classes • Listening Sessions • Individual Coaching • Ensembles • Concerts by local talent
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DIRECTOR PHILOSOPHY 102 PRIVATE INSTRUCTION & WIND PEDAGOGY
• Good modeling; not for just the “kids with promise” • “Skills: they’ve got to have skills” - AW • Private instruction is not for remediation but is for enhancement • Learn your craft – whatever the job entails • Director Knowledge is critical
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DIRECTOR PHILOSOPHY 103 CHAMBER MUSIC PROGRAM
• Can be implemented as early as marching band camp • Offer incentives for participation • Host regular recitals and concerts • Develop a library of music and recordings of each
instrument • Large and small ensembles • Great place for concert percussion
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DIRECTOR PHILOSOPHY 104 AUDITIONS FOR BAND PLACEMENTS/CHAIRS
• Make it a complete examination • Do auditions yourself to evaluate progress • Always include scales, arpeggios, etudes/solo and
sight reading • Give students at least two weeks to prepare audition
material • Post scores immediately
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DIRECTOR PHILOSOPHY 105 CLASSROOM MANAGEMENT
• Polite, yet focused rehearsals at all times • Talking during rehearsals?? • Neat classroom encourages attention to detail • Never allow students to enter classroom noisily • At times, make your conversations relevant to popular
culture • Heads and shoulders in place
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DIRECTOR PHILOSOPHY 106 CLASS STRUCTURE
• Warm-up (Scales in Unison)
• Long Tones/Lyrical playing
• Chords
• Chorales
• Tuning (length of tubing AND ear training)
• Technique exercises (Class Method Book)
• Rhythm/Articulation Building Exercises (Method Book)
• Sight reading Exercises (Method Book or Lit.)
• Singing
• Literature
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FOCAL PERIODS CONTESTS, CONCERTS, EVALUATION
• Macro - Micro – Macro Full Band, Choirs, sectionals, solos, choirs, Full Band
• Comprehensive Musicianship
Historical, group projects, video conference with composer, imagery • Score Study
Sing every part, hear every chord, markings, indicate phrasings • Modeling
Speak in musical terms, recordings, iPods, reference material
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CAMPS Local/Regional/National Camps
High School Symphonic Band Camp (Fri/Sat/Sun) ** 7TH & 8th Grade Symphonic Band Camp (Sat/Sun) **
Beginning Band Carnival (Sat) ** Marching Band Camp (Mon-Sat) Jazz Band Camp (Fri/Sat/Sun) **
Chamber Music Camp (Fir/Sat/Sun)
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BAND TRAVEL • Educational Intent
• Balanced sets of events • Advanced planning
• Fully articulated budget • Community support • Classic Spring Trip
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YOUR MUSICAL HEROES COMPOSER(S) PEDAGOGUE
INTERPRETER (INSTRUMENTALLY/VOCALLY) POPULAR MUSICIAN(S) CLASSICAL ARTIST(S)
JAZZ ARTIST(S) CONTEMPORARY HEROES
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JAZZ COMPONENT American Music
Belongs in every music classroom Small Ensemble (musical and social benefits)
Listening to masters Developing Improvisation
Guest artists
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DEALING WITH ADMINISTRATORS Principal - the leader of the school
Meeting times (before & after school) Developing a relationships in their interest area
Executive Secretary “They just don’t understand what we do” - so teach
them Address band, conduct band, announce for the band,
guest of honor, take on trips
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BAND BOOSTERS Should be a strong ally
Communication of your philosophy Attend Meetings
Establishing the Agenda By-Laws (critical)
Assist in selecting officers
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BUDGETS A forecast but needs to be well planned out Pie Charts are great and lean them heavily toward quality instruction Live musicians as source Full Year budgets with monthly flow charts for planning Clinics/Conferences for directors (must be their suggestion) Personal Date Forms
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WHO ARE YOU?
Must be Creative (Walt Disney Effect) Must be enthusiastic and knowledgeable
Must learn your craft Must be respected
Must be a Musical “sponge” Must be a Lifelong learner