nn0219b band news 5

Neil A. Kjos Music Company • www.kjos.com

The Gift of MusicDuring the past several months the world

has experienced many horrific events.Some have said that it is more than we canbear. It has ripped at our hearts. It has causedus to re-evaluate everything. In reality, theworld has changed, perhaps forever. Thesound of music during these difficult times,however, has inspired, encouraged, lifted usup, and reignited our spirit. We are thankfulfor the gift of music.

As international opera star Denyce Gravescame to the microphone to sing America TheBeautiful at the National Cathedral inWashington, just days after the attacks inManhattan and at the Pentagon, the majestyof Graves’ voice filled the great hall and for a

few precious moments what had befallen thenation and fears of what lay ahead faded.

“Music brings a stability to humanity inan uncivilized time,” Graves says. “It’ssoothing, comforting, and reminds us thatthere’s still beauty in the world. Even if musiclifts the spirits of the people for only a littlewhile, it’s worth it.”1

When times are difficult, many of us turnto music to bring solace with its healing andcomforting qualities. Music is an indispen-sible adjunct to both our happiest and mostsolemn occasions. We are thankful for the giftof music.

1.Tim Wendel, Healing Harmonies, USA Weekend.

NE WS AND INFORMATI O N FOR BAND EDUCATORS

Spring 2002 Volume 5

Hearing the SoundsBefore Reading the Notesby Bruce Pearson

From the Bottom Up:The Bass by Dean Sorenson

Page 4

Tambourine Techniqueby Dave Hagedorn Page 6

Is Your Clarinet OK?– Part Oneby Robert Baca and Ken Cance

Page 8

Queenwood PublicationsSold to the Neil A. KjosMusic CompanyPage 12

Rehearsing the VeryYoung Band– Part Oneby Bruce Pearson

Page 13

IN THIS ISSUE

Published bi-annually by the Neil A. Kjos Music Company 4380 Jutland DriveSan Diego, California 92117(858) 270-9800Fax: (858) [email protected]© 2002 Neil A. Kjos Music Company

Kjos Band News

Hearing the Sounds Before Reading the Notesby Bruce Pearson

Some students seem to sight-read musicquite readily, while for others this is a

formidable challenge. Despite differences inaptitude for sight-reading, the progress of allstudents is affected by the methods that areused to teach this skill. Good sight-readingresults from a thorough understanding ofmusic notation and a well-developed senseof time.

It is common for directors to explainrhythms in terms of mathematical propor-tions. Although the mathematical propor-tions are an important element, mostrhythmic errors arise from a poorly developedsense of rhythmic flow. Directors often spendconsiderable time correcting the mathematicsinstead of addressing the rhythmic flow. Thatstudents readily respond to the rhythmic flowof music is evident whenever they listen to

pulsating music. Marching band directorsoften become frustrated teaching somestudents to march on the beat, but usuallythese are the students who have not devel-oped a sense of rhythmic flow.

Famed music educator Emile Jaques-Dalcroze believed the rhythms of the body arethe source of musical rhythms. Many peoplerefer to his method as Eurhythmics because ituses musical activities that encourage studentsto respond to music by marching, skipping,hopping, and clapping, activities that all uselarge muscles. Dalcroze expressed concernthat instrumental music instruction shouldnot begin before a student develops a sense ofrhythm. Traditionally, we start beginningband and orchestra instruction when studentsreach a certain grade level, but before actuallyplaying an instrument it is important for

2 Kjos Band News | Spring, 2002


students to develop a sense of steady pulsethrough walking, marching, or clappingto music. More advanced exercises areclapping eighth notes while marchingquarter notes or producing duple or triplemeter patterns through combinations ofthigh pats and hand claps.

These activities are often taught ingeneral music classes, but clappingshould be an integral part of every begin-ning ensemble rehearsal to developrhythmic flow. Some directors believethat foot-tapping or learning quarternotes before long tones will instill arhythmic pulse, but neither foot-tappingnor tonguing quarter notes entails thelarge muscle movements that develop asense of rhythmic flow.

Directors traditionally have usedcounting systems or rhythm syllables toteach rhythm. Many disagree whichcounting system or rhythm syllablesystem works best, but most teachersaccept that the system should duplicatethe sound of the rhythmic patternwithout conflicting with the articulation.

All instrumental music programsshould include singing or students willcome to rely on the instrument ratherthan their ears to identify and producecorrect and in-tune pitches. Studentsshould first sing all exercises to develop abetter sense of pitch, and only then playthem on their instruments. Over theyears I have discovered that students whocan sing simple melodies on sight areusually better at reading instrumentalmusic than those who cannot.

Students should develop their sensesof rhythm and pitch and be able toproduce a good tone on their instru-ments before they are ready to readmusic. Just as we learn to talk beforereading, instrumentalists should learnpitch and rhythm before musical nota-tion. This way, the notation simplyrepresents what a student has alreadyexperienced playing, which is a basis ofthe sound-before-sight reading system.

For instance, when teaching wholenotes and whole rests, begin withstudents’ books closed to eliminate thedistraction of the music.

While singing the exercise using themi solfege syllable, indicate the rhythmby clapping hands on beat 1, keeping thehands together, and bobbing them upand down on beats 2, 3, and 4. Duringthe whole rests a director can maintainthe beat by extending both handsoutward and bobbing them up and downfor all four counts. Students should thenduplicate the teacher’s example.

Now using note names, the studentssing and clap for a second time, while thedirector demonstrates the exercise on aninstrument. After correctly repeating theexercise on their instruments, studentshave the experience to read the exercise. Atthis point students should be instructedabout note values and counting systems.

In this progression students shouldexamine the similarities and differences ineach new exercise.

Students will readily see that therhythm in this exercise is the same as inthe previous one, but the pitch isdifferent. Without further instruction,give the new pitch and ask students tosing using the solfege syllable re, whileclapping the second exercise. As in thefirst example, students should then singnote names and clap the rhythm. This iswhere a song-before-sight approachdiffers from rote teaching: only newconcepts are demonstrated. Studentslearned the rhythm in the first exerciseand should not need further explanation.Review only if a student cannot applypreviously learned information to a newexercise.

After singing and clapping the secondexercise correctly, students are ready tolearn the fingering for the pitch and playthe exercise.

The third exercise introduces no new

pitches or rhythms; students shouldapply the knowledge gained from thefirst two exercises to play this withoutfurther instruction or demonstration.

For the fourth exercise studentsshould identify similarities and differencesbetween the exercises, clap and sing thenew exercise first using the solfege syllabledo, then the notes’ names, learn the correctfingering, and finally play the exercise.

All the notes and rhythms used inexercise five have been covered thus far,so students should be able to sing andclap the fifth exercise before playing it.

The sound-before-sight approach is agood way to teach all new concepts,including new notes and new rhythms.When teaching new notes, use familiarrhythm patterns, and combine familiarnotes with new rhythms.

To introduce eighth notes, divide theclass so one group claps quarter noteswhile the other group imitates the teacherclapping “Eighth Note Encounter.” Thegroups should then switch parts beforethe teacher demonstrates “Eighth NoteEncounter” on an instrument. Afterduplicating the exercise by ear on theirinstruments, students should look at the

Kjos Band News | Spring, 2002 3


notation as the director explains the notevalues and counting or rhythm syllablesystem for this exercise. Just as childrenquickly learn to read words they canpronounce and understand, students willreadily decipher musical notation ofrhythms they have already learned toplay. From “Eighth Note Encounter”students learn the skills for playing thenext exercise, “Jim Along Josie.”

Again, students should first examinethe similarities between the two exer-cises, and after observing that therhythms are nearly the same but thepitches are different, clap the rhythm to“Jim Along Josie” while saying countingor rhythm syllables. The teacher shouldnot demonstrate “Jim Along Josie”because that would constitute rote

teaching, and students do not becomeindependent sight-readers when taughtby rote. If students falter, they should goback to the previous step, which in thiscase was counting and clapping. Thegoal is for students to apply what theylearned to new exercises without teacherdemonstration.

Through consistent application ofsound-before-sight teaching, studentsunderstand how musical notation repre-sents musical sounds. As a result, theybecome exceptional music readers.

Bruce Pearson is an internationally-known author, composer, clinician, andconductor. He has taught at the elemen-tary, junior high, high school, and collegelevels for over thirty years. In December of1998, Bruce was awarded the prestigiousMidwest Clinic Medal of Honor inrecognition of his outstanding contributionto music education.

© 1996 The Instrumentalist Co. Usedwith permission. The Instrumentalist ispublished 12 times each year.

All music examples are taken from theStandard of Excellence ComprehensiveBand Method published by the Neil A.Kjos Music Company.

q

BACH and BEFORE for BANDBy David Newell

Four-Part Chorales from the 16th, 17th, and 18th Centuries

A New and Innovative Chorale Book for Year Two through High School

Bach and Before for Band is a collection of 19 four-part chorales by J. S. Bachand some of his predecessors, presented in the unique and new “Kjos TotalOption Scoring” format. In this format each of the part books contains all fourchorale voice parts, written in the playable range of each instrument, givingdirectors an unlimited number of ways to use the chorales. Not only can thechorales be performed in the traditional full concert band setting, but they canalso be used as solos, duets, trios, quartets, and larger ensembles in absolutelyany combination of instruments. Because all four voice parts are printed ineach book, the individual soprano, alto, tenor, and bass parts can also berehearsed in unison, which will lead to significantly improved intonation.Additionally, in each student book is printed a piano score of each chorale,enabling directors to introduce the concept of score reading to their students.

Bach and Before for Band is a must for improving intonation and playing expressively– two important keys to superior performance!

Available Through Your Favorite Music Dealer!



In the last issue of Kjos Band News we looked at some generalideas concerning the rhythm section. In this and subsequent

articles, I would like to take a look at each instrument individ-ually and discuss their roles in more detail. As noted earlier, agood rhythm section is absolutely critical to a good jazz ensemble.Unfortunately, most directors (myself included!) are not rhythmsection players. This is a major contributor to the unease manydirectors feel about working with the rhythm section. As we gothrough each of the instruments one by one over the course ofthe next few articles, I hope that you will gain a better under-standing of how the rhythm section works, and how you can helpyour rhythm section sound better.

We will start with the bass. The bass line, no matter whatstyle of jazz you are playing, is the most critical element of theensemble. Not just the most critical element of the rhythmsection; the most critical part of the ensemble. This holds truewhether you are using an electric bass, an upright bass, or akeyboard bass. Your bassist should ideally be someone with astrong sense of rhythm. When it comes to providing the bandwith a strong time feel the bass and the drums really worktogether. The drums, however, are often playing band figures orfills while the bass continues to lay down the basic pulse. If abassist does not have a strong sense of rhythm the time of theentire ensemble will be in constant flux and it will be difficult,if not impossible, for the band to sound “tight.”

It is important to understand that the bass has a dual rolein the rhythm section. The bass provides both the harmonic andrhythmic foundation for the ensemble. Just how the bass lineprovides these differs slightly depending upon the style of music.In swing styles, the bass plays what is called a walking bass line.A walking line consists of repeated quarter notes that outline thechords of the chord progression. Harmonically, the bass isresponsible for the fundamental notes of the harmony; mostlyroots, fifths, and thirds with some sevenths. If a walking line istoo difficult for a young player, having them play only roots -in the walking quarter note style - will be sufficient support foran ensemble. The bass lines on many early jazz recordings,especially those at very fast tempos, consist of nothing but rootsplayed four to the bar. This leads us to the rhythmic element.Playing repeated quarter notes may seem quite easy, but to playthem in solid time over the course of an entire tune, especiallyat fast tempos, is more of a challenge.

In rock and Latin styles the bass line is often more rhyth-mically complex, but often simpler harmonically. Somerhythms, especially in funk and Afro-Cuban styles, can be verycomplex. The upside for less advanced bassists is that thesecomplex patterns are often very repetitive, and it is common fora bass line to consist of a two or four bar vamp, repeated overand over for the majority of a tune. Recognize patterns when

they occur and focus on getting a solid groove going with thepattern by itself. Learning two bars, and repeating them 8 timesis easier than learning 16 bars. Be careful when choosing liter-ature in these styles. Be sure to check the bass part, and makecertain you have a player that is equal to the task.

Spend time in rehearsal listening to the rhythm section playalone, and pay close attention to the bass. Make sure that the bassline – no matter what the style – is played with very consistentrhythm. If you hear problems, do not hesitate to ask the bassist toplay alone in rehearsal. Slowing the tempo until the passage or thegroove can be played solidly is also very helpful. It is very commonfor the wind players to be able to play a passage at a faster tempothan the rhythm section can. Give your rhythm section a chanceto catch up, and start with the bass player. Always remember thatif the bassist cannot play it, the band cannot play it.

There are many different kinds of basses. Even though certainbasses are often better suited for certain styles, most directors donot have the luxury of having a choice. Even so, it is helpful to havean understanding of the differences in order to get the best possiblesound from your bassist. The most common bass is the electric bass.These come in both fretted and fretless varieties and tend to haveheavier, boomier sounds with a very direct attack. They also featurea very drawn out decay. They are ideal for rock and funk styles,but can be used in swing also. When using electric bass on swingcharts, try to EQ the amp with less low end. Adding some highsand mid-ranges gives the sound a little more body and less boom.Upright basses are ideal for swing playing, but are very expensiveand are more difficult to play. Upright basses (sometimes calledstand up basses) have a broader attack and a much faster decay.Getting a good sound with an upright bass through an amp startswith getting a good sound on the bass. Many young playersapproach the upright bass with the same technique used with elec-tric bass, expecting the amp to create the sound. A good uprightbass sound, however, has to be good acoustically as well as ampli-fied. Many schools have little choice but to use a keyboard bass.When using a keyboard bass or synthesizer use an electric basspatch. Acoustic bass patches, for the most part, sound very artifi-cial. Electric bass patches, on the other hand, sound more like whatthey are supposed to be: an electronic instrument.

No matter what kind of bass your jazz ensemble uses, anyand all can play an artistic and musical role in your ensemble ifyou and your bassist understand the role of the instrument.

Dean Sorenson is a prolific and highly sought-after composer, trom-bonist, and clinician. He holds degrees from the University ofMinnesota and the Eastman School of Music, and was recentlyappointed Interim Director of Jazz Studies and Performance at theUniversity of Minnesota-Minneapolis.

From The Bottom Up: The Bassby Dean Sorenson



STANDARD OF EXCELLENCE

BY DEAN SORENSON

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Tambourine Techniqueby Dave Hagedorn

While other instrumental musicianswork diligently to develop their

technique on their chosen instrument,percussionists must develop their tech-nique on five FAMILIES of instruments:drums, mallet instruments, timpani,drum set, and auxiliary percussion instru-ments. Too often, percussionists takeauxiliary instruments for granted. Theyspend countless hours developing theirtechnique on the drums, timpani,mallets, and drum set while ignoring thetechnique of auxiliary percussion instru-ments. This article will address the propertechnique for playing one of the auxiliarypercussion instruments - the tambourine.

First it is very important to have thecorrect type of tambourine for eachplaying situation. For concert band atambourine that has a head on it shouldbe used. The head is imperative forproducing sounds that blend with therest of the musicians and also for doingcertain types of rolls. There are two typesof heads: plastic and natural skin. Formost situations the plastic head workswell and is not as affected by changes inthe weather and humidity.

In addition to the head material,there are different materials used for thejingles, such as silver andbrass. It is important totry out the instrument todetermine which sound ismost appealing to boththe percussionist and thedirector. I prefer a doublerow of silver jingles.

When using thetambourine in a jazzensemble or rock band, Iprefer the headless “half-moon” shape. It is lighterand my arm will not tireout as quickly. A plastic shell is lighterand more durable.

Playing the tambourine requiresproper technique; proper techniquerequires time in the practice room to

develop. Too often percussionists justpick up the instrument and try to makesounds, without first understanding thedetails that go into making a qualitytambourine sound.

Next we need to address the way thepercussionist picks up the tambourine.The jingles are sensitive. We don’t wantto inform the audience that we are goingto play the tambourine before the musicalpassage begins. Neither the composer,conductor, nor fellow musicians willappreciate a tambourine sounding over adelicate flute or oboe passage. To avoidthis the tambourine should be kept headup on a trap table or padded music stand.When ready to play, keep the headparallel to the floor until after the firstnote is struck. When setting thetambourine down after playing, take thesame care to avoid unwanted sounds.

There are many ways to play indi-vidual notes on the tambourine. Holdthe tambourine in one hand and experi-ment, striking it with a fingertip ondifferent places on the head. Next makea “bouquet” of two or more fingers andcompare that sound. Try playing with theflat palm of your hand in the center of thehead, and also try making a sound with

your knuckles. These techniques willgive the percussionist a “repertoire” ofdynamics and timbres. Remember thatmost of the time we are adding to theensemble and not necessarily playing a

Since its release with Book 1 in1993, Standard of Excellencehas led the way in addressing theNational Standards for MusicEducation. While using the “draftstandards,” the Standard ofExcellence ComprehensiveBand Method was carefully andmeticulously designed andwritten so that, upon completionof Standard of Excellence, Book3 , al l Grade 5–8 NationalStandards are addressed andexceeded. You may obtain a copyof a handout that shows whichactivities address each of theStandards by calling or writingthe Neil A. Kjos Music Company.In addition to the method book,the Standard of Excellence INCONCERT series presents excep-tional arrangements, transcrip-tions, and original concert andfestival pieces. Each of the overforty pieces currently availableprovides valuable activities thatwill help students meet, address,and achieve the NationalStandards. In fact, when consid-ering the method book and corre-lated pieces, Standard ofExcellence is the only curriculumthat addresses the NationalStandards with both components.

STANDARD OF EXCELLENCELEADS THE WAY INADDRESSING THE NATIONAL STANDARDS



solo. It’s important to have the sound of the other instrumentsin mind in order to make the tambourine blend with any andall combinations of instruments.

The basic finger technique is illustrated on page 11 ofStandard of Excellence, Book 1. This technique can be prac-ticed by using the rhythm studies on pages 43-45 of Standardof Excellence, Book 1 and pages 44-45 of Standard ofExcellence, Book 2.

When playing rapid rhythms, place the tambourine on apadded music stand and use both hands. Try to make bothhands sound the same.

Young percussionists should be sure to practice the rhythmsin the back of their Standard of Excellence books.

Another technique that must be mastered is the tambourineroll. There are two types: shake rolls and finger rolls. Whenperforming the shake roll, the percussionist should start and endthe roll by striking the tambourine on the head. This gives defi-nition to the roll, similar to the technique used on the snaredrum. This technique should also be used for rolls requiring asoft volume, eliminating an unwanted jingle sound whenpreparing todo the roll.This techniqueis illustrated inStandard ofExcellence,Book 2 page 9.

For morecontrol at soft-er dynamics,use a finger or

thumb roll. This involves moistening the finger or thumb andmaking it vibrate around the edge of the head. Some percus-sionists like to use a rubber thimble or attach very fine sandpaperaround the perimeter of the head for this technique. Otherpercussionists use beeswax. Finger rolls are crucial to learn, andare used for short bursts of sound that will blend with theensemble. The thumb or finger roll is illustrated on page 16 ofStandard of Excellence, Book 3.

In addition to practicing the exercises in Standard ofExcellence, young percussionists can benefit from using thistechnique on snare drum exercises that have short rolls.

For pop music or jazz ensemble, the biggest problem is beingable to play a groove for an extended period of time withoutgetting sore hands or tired muscles. It is difficult to maintain asteady tempo when we get tired. It helps to hold the tambourinein your strongest hand, perpendicular to the floor and shakesixteenth or eighth notes with a side to side motion for a fewminutes at a time. To play accents in a constant groove passage,hold a clave in one hand and strike the tambourine on the accentswith the clave. It’s very important to “lock in” with the hi-hatcymbal or ride cymbal. A good source to practice is the Standardof Excellence Jazz Ensemble Method using the recording andwritten part for “Martian Square Dance” on pages 13-15.

Practicing these techniques will improve your tambourineplaying and make for more enjoyable and musical sounds.

Dave Hagedorn is a professional percussionist in the TwinCities of Minneapolis and St. Paul. He is the percussion instructorat St. Olaf College in Northfield, Minnesota.

All illustrations are taken from the Standard of ExcellenceComprehensive Band Method published by the Neil A. Kjos MusicCompany.

For a complete listing of Kjos band publicationsplease visit our website: www.kjos.com



With ever decreasing budgets and the band director’sneed to become more efficient, the “I don’t know how

it happened” avoidable repair can add up to more than abottle of Tylenol. With a little neglect, or using the wrongmethod of “band-aid” remedy, small repairs can eat away at thebudget, and cause instruments to be missing from rehearsal.To provide some sound advice for students, I asked nationallyrecognized woodwind repair expert Ken Cance to identify themost common maintenance issues with clarinets.

Are the following experiences familiar?

“I get unwanted squeaks and squawks when I play.”

“The fingering is correct but the sound is still fuzzy, or the instrument won’t play at all.”

“It works when I push really hard on the keys.”

“I can play the low notes when I ‘slap’ the keys down but it does not respond with normal finger pressure.”

Through the years I have observed the frustration of musi-cians plagued with trying to make music on an instrumentthat is mechanically deficient. As the instrument is played,changes in materials will cause the instrument to slowly go outof adjustment. Pads may compress or become hard, brittle ortorn. Key corks and tenon corks can compress, wear, dry outor fall off completely. The key mechanism can becomemisaligned, noisy, or frozen due to a number of possible causes.

Because changes to the function often are gradual, the expe-rienced musician learns to compensate for the deficiencies of theinstrument, and unknowingly expends more energy to make theinstrument play. The beginning or young musician can oftenbecome so frustrated, believing that they are not capable ofprogressing on the instrument, that they will give up trying to learn.

If the musical instrument does not function at its maximumpotential, the musician playing will be unable to achieve theircreative potential. Given proper care and monitoring, an instru-ment can serve a musician for many satisfying years.

The following information is intended to help identifymany of the causes of instrument malfunction. The purpose isto help identify, locate and understand the instrument and keymechanism, so that when problems do arise they will be noticedand can be addressed immediately. Although much of thediscussion can be applied throughout the clarinet family, thefocus will be on the soprano clarinet.

SOCKET RINGS

Caution: If the socket rings are loose, DO NOT assemblethe clarinet.

The clarinet has two socket rings on the barrel joint, one onthe lower joint and one on the bell. The socket ring is a metalband, which supports the socket of the female connection onthe joints of the clarinet.

If the socket ring is not secure, the pressure from the tenonduring assembly could crack the socket wall. The socket jointwall is very thin and must withstand the pressure of the coun-terpart tenon when assembled. A socket ring is secured over theend of the socket in order to support the internal pressureexerted by the tenon cork, as well as the weight of the two joints.

Socket rings usually become loose due to drying of thewood. This is a common occurrence in cold winter climateswhen the air is dry. When this happens, the wood shrinksallowing the socket ring to float or move freely. Securing thesocket ring is not an extensive repair for the technician if it isrepaired prior to the socket cracking.

TENON AND TENON CORKS

• Ensure that the tenon corks are clean, lubricated andcreate an airtight seal.

The various joints of the clarinet are connected by a tenonand socket arrangement. The tenon cork functions to securethe joints together and create an airtight seal. New instrumentsdo not come with tenon corks lubricated. A small amount ofcork grease should be rubbed into the cork as a lubricant so thatthe joints connect easily and create a positive seal, as well asprevent the cork from drying and tearing.

When applying the cork grease, rub it briskly into the corkso it penetrates the pores of the cork. Assemble the joints, thendisassemble and wipe any excess grease from the tenon, as wellas the inside of the socket. Because of the close proximity of theG#/C# key tone hole to the center tenon, grease and dirt thatbecomes too excessive can hamper the seal of the G#/C# key pad.

Over a period of time, the grease on the tenon will attractdirt, lint and other particles. It is therefore a good practice to

Is Your Clarinet OK? – Part Oneby Robert Baca and Ken Cance



regularly wipe the tenon and tenon cork clean with a dry cottoncloth and apply new cork grease. A cotton swab is useful for

wiping dirt out ofthe bottom of thesocket. A pipecleaner is usefulfor cleaningaround the tenonbetween the corkand the bodysection.

CLARINET ASSEMBLY - UPPER & LOWER JOINTS

HAND POSITION: The instrument must be assembledwithout applying excessive pressure to any key or lever causingit to bend in any way.

Excessive pressure to keys, levers, rods and pad cups mayeasily cause a precise regulation of the key mechanism to becomefaulty. To assemble the upper and lower joints:

• Grasp the upper joint in the palm of the left hand (barreltenon pointing away and rings facing up), depressing the ringkeys with your fingers, thus raising the upper bridge key.

• Grasp the lower joint with the thumb firmly on the bodybetween the low F/C and low E/B key pad cups, the fingers grip-ping around the joint where there are no keys and the palm ofthe right hand over the low E/B key hinge.

JOINT ALIGNMENT: When assembled, the posts of theupper and lower joint ring keys should be in alignment, as wellas the upper and lower bridge.

The alignment of the post balls of the ring keys/stack keys

on the upper and lower joints establishes the correct alignmentof the tone holes in order to establish proper hand position.When this alignment is determined, the bridge keys should alsobe in perfect alignment. If the bridge keys do not align, theymay be bent or in need of adjustment.

Check that the upper and lower joints are aligned parallelto each other in a straight line and are wobble free. Deviationcaused by a wobbly connection can affect the regulation (equalclosure) of the upper and lower joint bridge key pads.

MOUTHPIECE, LIGATURE & REEDS

• The compatibility of the mouthpiece with the instru-ment may be one of the most significant factors in the playingpotential of the instrument.

If there is no damage to the mouthpiece and the instrumentsounds stuffy or does not project well, experiment with differentmouthpieces. Often this alone can immensely improve anotherwise properly functioning instrument. The mouthpiecethat came with the instrument may not be the most compat-ible for every player.

• Chips, scratches or damage present on the mouthpiece tipor facing can greatly affect the performance of the instrument.

Limited repair may be done in these areas. Replacing themouthpiece is usually the best recourse.

• Do not pull the swab through the mouthpiece, as the metalweight is likely to scratch the inner surfaces or chip the tip.

With a finger in a soft, lint free cloth or chamois, wipethe mouthpiece from both open ends. Use caution not toscratch any of the mouthpiece bore or dull the sharpness ofthe rail on the facing of the mouthpiece. If the mouthpiece isunusually dirty, cleaning is best done with a soft brush andwarm, mild soapy water.



• Ensure that the ligature is free of bends & cracks,conforms to the mouthpiece & reed, and is placed between thereference lines etched into the mouthpiece.

There are a wide variety of ligatures available today. Allare designed to achieve a similar purpose: to hold the reed inplace and yet allow the reed to vibrate freely. The shape ofthe ligature is designed to conform to the roundness of themouthpiece and the butt portion of the reed. Be careful whenassembling that the ligature conforms to the reed at the areadesignated. Tighten the ligature screws until they just hold thereed firmly. Over tightening the ligature screws will restrict thereed vibration. Bent, cracked, chipped or out of round ligaturesmay hold the reed unevenly and adversely affect the performanceof the instrument. These reeds should be replaced.

• The reed must be in good condition, free of chips andcracks, and be properly placed on the mouthpiece.

When placing the reed on the mouthpiece, ensure that thetip and the butt of the reed are centered on the mouthpiece.When looking directly across the tip of the reed, a minuteportion of the mouthpiece should be seen. Reeds that arechipped or cracked should be discarded. After each playingsession, the reed should be placed on a flat surface so it will drynaturally without warping. An assortment of reed guards areavailable from music dealers for this purpose.

BORE, TONE HOLES & BODY

• Removing all moisture after each playing session is prob-ably the single most significant preventive maintenance thatcan be done to prevent cracking of wooden instruments.

The better grade clarinets are made from a very hard AfricanBlackwood or Grenadilla. Any wood, no matter how hard, isprone to cracking. Natural cracking is generally caused bychanges in humidity. When humidity changes are extreme, theinstrument is most vulnerable to cracking. Often, cracking willoccur even if extra preventive measures have been taken. Cracksusually will appear in the upper part of the upper joint and stopwhen they reach a tone hole or post. Look on the outside ofthe body as well as its counterpart location in the bore to deter-mine if a crack is present. Often an open grain or resin canalon the body surface may look like a crack but does notcompletely penetrate to the bore.

Preventive measures can decrease the likelihood that crackswill occur. Keeping the instrument from any extreme changein humidity or temperature is one of the most beneficial thingswe can do to prevent cracking. If the instrument has been inthe cold, allow the instrument to adjust to room temperature

FOUNDATIONS FOR SUPERIOR PERFORMANCEWarm-Ups & Technique for Band

by Richard Williams & Jeff KingFoundations for Superior Performance is designed to help organizethe daily rehearsal and improve the overall performance of any band.

A variety of musical studies target student improvement in thefollowing areas: Sound (tone production), Articulation (styles andconcepts), Flexibility, Agility and Endurance, Range, Listening Skillsand Technique in all twelve major and minor keys, and a basicunderstanding of Music Theory.

Foundations for Superior Performance Fingering and Trill ChartsNow available from your favorite music dealer!



gradually before playing. The warm moist air induced into thebore by playing can be shocking to the cold, outside woodbody causing it to stress and crack.

Always swab each joint separately with a chamois or clean,absorbing swab to remove all moisture from the bore. Usecaution that the weight does not scratch the bore. Wipe excessmoisture from the tenons and sockets with a soft, lint free clothafter each playing session.

Caution: Oiling the bore with the keys in place is notrecommended, as the oil may dry out and harden the pads,which will inhibit their seal.

An oil treatment to the body can often help resist the dryingthat takes place in the wood and help prevent cracking. It isrecommended that the keys be removed from the instrumentand the oil be applied inside and out so that the body canabsorb oil from all surfaces. Seek a professional repair shop forthis service.

THUMB REST

• Check regularly to ensure that the thumb rest screws aresecure.

If the thumb rest is loose, snug the screws so that thethumb rest is secure. As the screws become loose, the thumbrest will begin to move and wobble. The stress placed on thethumb rest, due to the weight of the instrument, can cause loose

screws to eventually break out of the body creating a majorrepair in that area.

If thescrews willnot tighten,an oversizescrew maybe installedto secure thethumb rest.Only use anoversizescrew that isdesigned forthe thumbrest. Oversize screws are available from your local band instru-ment repair technician. If that does not solve the problem, see aqualified repair technician for advice.

Ken Cance has been Woodwind Repair Instructor of the nation-ally recognized Band Instrument Repair Program at MinnesotaState College-Southeast Technical (Red Wing) since August 1994.In addition to teaching instrumental music for twelve years, hehas also managed the Department of Defense Musical InstrumentRepair Facility located in Germany, has operated a repair shop inTexas and has established his own band instrument repair busi-ness in Wisconsin. Ken is a member of the National Associationof Professional Band Instrument Repair Technicians (NAPBIRT)and has presented clinics both regionally and nationally.

STANDARD OF EXCELLENCE

FIRST PERFORMANCEBY BRUCE PEARSON & BARRIE GOTTFirst Performance is a collection of 13 new Very Easy/Easy (Grade 1⁄2 – Grade 1)pieces for beginning band. A variety of styles including marches, folk songs, Latin,rock, blues, transcriptions, and holiday music provide interesting repertoire forbeginning bands from the very first concert and throughout the first year. Eachselection is composed to ensure student success with extensive cross-cueing,limited ranges, and interesting parts for all sections. First Performance providesquality literature ideal for concerts, contests, and all first-year, programming needs!

•Glossary, Checklist, and Fingering Charts Included•Historical and Cultural Information for Program Notes •Demo CD with Full Length Recordings in Every

Conductors Book•1st and 2nd Parts in Each Book for Flute, Clarinet, Alto

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•Grades 1⁄2 – 1•Variety of Styles•Limited Ranges•Extensive Cross-Cueing•Creative Percussion Parts•Fun and Familiar Songs•Scored to Make Young Bands

Sound CompleteA Can’t-Miss Favorite for First-Year Students!



Anne McGinty, President and co-owner of QueenwoodPublications, has announced the sale of Queenwood

Publications’ assets to the Neil A. Kjos Music Company,effective March 31, 2002. The new company will trade underthe Queenwood/Kjos label and will continue the traditions andintegrity Queenwood Publications is known for throughout theworld. Starting March 31, 2002 all Queenwood titles will beavailable exclusively from Kjos Music.

“When considering the sale of Queenwood, it was extremelyimportant to make sure the tradition of quality we haveestablished would be continued - quality music, qualityproduction values and quality service to our customers. It iswith great pride and optimism that we join the Neil A. KjosMusic Company’s tradition of excellence in educational musicand our shared optimism for growth,” stated Ms McGinty.

Co-owner John Edmondson added, “Anne and I alone havebeen running Queenwood since we began. In order tocontinue the creative quality we have established and for

which we are known, we want to dedicate more time andeffort to the writing of the music than to the fulfillment oforders. We wanted a solid, stable company to become the newhome for Queenwood, and this third generation educationalmusic publisher fit the bill perfectly.”

Mark Kjos, President of the Neil A. Kjos Music Company,concluded, “The outstanding Queenwood catalog of concertband music, plus the well established Beginning andDeveloping Band books, complement the Kjos catalog and ourexisting publications very nicely. We are also excited by the newjazz band series and string orchestra series that was recentlyintroduced by Queenwood, and is causing much excitement inthe industry and among educators.”

The Queenwood catalog contains works by John Edmondson,Anne McGinty, Warren Barker, Douglas Akey, the late CharlesCarter, Brant Karrick and others. The Beginning andDeveloping String Orchestra Series are both edited by ShirleyStrohm Mullins, a renowned string expert.

Queenwood Publications Sold To The Neil A. Kjos Music Company

All Queenwood titles now availablefrom Kjos Music!

For your FREE catalog write, fax, or e-mail Kjos!NN0218B



Agood rehearsal starts with a good teacher. In other words, theeducational attitude that is reflected on the podium will

have a tremendous effect on the success or failure of the conductor’srehearsal time.

A good rehearsal starts with a good musician. A thoroughknowledge of music, as it pertains to musical performance, is anattribute that every conductor should possess.

A good rehearsal is planned in advance.A good rehearsal can be achieved if your “people skills” will allow

you to relate to your students in a highly positive manner.

As the above reflections by Jim Swearingen clearly indicate,the quality of a rehearsal depends in large part on the skills,personality, and attitude of the conductor on the podium.While these attributes vary from conductor to conductor, everygood rehearsal shares two common elements: clear objectives,and a structure which will allow those objectives to be met in atimely manner.

Every rehearsal should be:

• well-planned.• a music education laboratory.• a place of change and

transformation.• a self-contained event.• preparation for a performance.

As directors, we are stewards of our rehearsal time and havethe responsibility to allocate our rehearsal time where it can beused most effectively. One basic question requires an answer –are we going to use our time to build skills or to rehearse themusic? Obviously, both need our attention. I believe, however,the younger the band - the more rehearsal time that should bedevoted to skill building.

The young band needs to develop the following skills:

• Tone • Intonation1. Individual • Technique/Facility2. Ensemble • Balance

• Rhythmic Accuracy/ • DynamicsIndependence • Articulation

• Phrasing • Ensemble Playing• Music Reading • Comprehensive Musicianship

Over the years, band directors have wrestled with how theycan develop these skills in their students and prepare a concertwith their limited rehearsal time. There are three things toconsider when attempting to answer this question:

1. Students with developed skills need less rehearsal time to prepare their music.

2. The difficulty of the repertoire we select to rehearse andeventually perform will determine the amount ofrehearsal time that is required.

3. The number of pieces we select to rehearse andperform will determine how much time can be allottedto each piece.

In order to develop the aforementioned skills, considerselecting fewer pieces to perform. If you usually prepare sixpieces (30 minutes of concert music), consider preparing fivepieces (25 minutes of concert music). Another considerationis the level of difficulty of the pieces to be performed. Manydirectors put undue pressure on their students and themselvesby attempting to play music that is too difficult for theirensemble to prepare in the allotted rehearsal time. If your bandcan play Grade 3 music, program some Grade 2 music so thatskills can be developed and an artistic performance can result.Both you and your students will enjoy it more.

There are many components to a good rehearsal. This articlewill address two components of the rehearsal: the rehearsalenvironment and the rehearsal structure.

The Rehearsal Environment

1. SILENCE is the most important element of a goodrehearsal. Neither the director nor the ensemble can bemusical or creative in an atmosphere of chaos. Demand andexpect your students’ full attention. It is part of our respon-sibility as teachers to teach our students good discipline andproper respect for authority. Yes, even middle school studentscan learn to be quiet and attentive during a band rehearsal!The following are some tips to help establish and maintain aproductive learning and rehearsal environment:

A. If student motivation lags, examine yourself as aconductor/teacher. Remember that our students area reflection of us. We must be genuinely excited aboutthe music we are teaching, and about the process oflearning that music. If we find that our motivation islagging, reflect back and experience those things thatinitially called us to be a band director.

B. Be demanding of your students; both musically andbehaviorally.

C. Avoid “down-time” during the rehearsal.

D. Conduct high-energy, up-beat rehearsals.

E. Provide an environment for your students wherethey have permission to make mistakes.

Rehearsing The Very Young Band – Part Oneby Bruce Pearson



F. Define your expectations.

G. Stay with a piece or section of music you arerehearsing until everyone can recognize progress.Then...celebrate your achievement.

H. Use the “macro-micro-macro” plan. That is, onceyou have taken a piece apart, put it back togetherbefore moving on.

I. If discipline is required, remember the following:1. Discipline only the offenders, not the entire

ensemble.2. “Say what you mean, mean what you say, and

do what you say you’re going to do.” - Barbara Colorosa

3. Don’t threaten to do something you can’t ordon’t want to enforce.

4. Praise publicly but discipline privately.

J. Make certain that the stands and chairs are in placeat the start of rehearsal. Have the students put themback in their proper place at the end of rehearsal.

K. Write the rehearsal order and the section to berehearsed on the board prior to the rehearsal.

The Rehearsal Structure

An important characteristic of a good rehearsal is that itis well-planned. While every rehearsal requires a degree ofspontaneity, in general, the more well-structured the rehearsalis, the more productive it will be. In the case of most schoolband and orchestra rehearsals, the following six-part planoffers such a structure:

I. Warm-upThe warm-up is one of the most important components of

a good rehearsal because it is where most skill-building takesplace. It also sets the rehearsal atmosphere for the day andwarms-up players’ minds, muscles, and instruments.

Every warm-up should include three types of exercises:1. Embouchure Warmers (long tones and lip slurs)2. Arm and Finger Warmers (scales, intervals, and

rudiment studies)3. Mind warmers

While the warm-up is part of the daily routine, it should notbe mindlessly repetitive. Be musically demanding while chal-lenging students both mentally and physically.

II. The Familiar SelectionThe objective of the familiar selection is to allow students

to make music confidently and to have a sense of “ensemble”before undertaking the primary rehearsal selection. Select a well-rehearsed piece or portion of a piece (not exceeding fiveminutes) and play it with as few stops as possible. Resist thetemptation to rehearse this selection.

III. The Primary Rehearsal SelectionThe primary rehearsal selection receives the most attention

during the course of the rehearsal. Players should be beyond the“woodshedding” stage and ready to enter the next phase oflearning. This stage often includes phrase identification andlearning to shape those musical phrases.

Use time wisely by rehearsing this piece in sections. (Muchvaluable rehearsal time can be squandered by continuouslystarting from the beginning). Isolate potential problem passagesbefore the rehearsal begins. Know the score well enough torecognize passages that are similar to others, and limit the timespent rehearsing them.

Once this selection (or a portion of this selection)approaches performance readiness, move it up to the familiarselection segment to make way for a new primary selection.

IV. The Secondary Rehearsal SelectionThe objective of this rehearsal segment is to “woodshed” a

selection which has been sight-read recently. Once again,rehearse in sections, repeating and drilling as necessary. Becareful, however, not to “over-drill.” Instead, aim to thoroughlyfamiliarize students with a fresh piece of music. Once studentsbecome familiar with this selection move it (or portions of it)up to the primary rehearsal selection segment of the rehearsal.

V. The Sight-Reading SelectionThe objectives of the sight-reading segment are two-fold.

First, it is reserved as a time to introduce students to new music.Second, this rehearsal segment allows time to sharpen students’sight-reading skills. Choose selections and read them in theirentirety. Stop only if the band “falls apart.” Once the sight-reading has been accomplished, move this selection up to thesecondary rehearsal segment.

In a subsequent issue of Kjos Band News we will address, in-depth, ways to teach sight-reading and rhythmic independenceskills.

VI. The CloserEducators want their students to enjoy music for a lifetime.

This segment should bring the rehearsal to an enthusiasticclose, ensuring that everyone feels good about the experience.Choose a selection or portion of a selection that students enjoyand perform masterfully.

By following these tips, your rehearsal will become moreproductive and effective.


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This new and innovative extension ofthe popular Standard of ExcellenceAssessment Software removes alltechnology barriers, allowing anyinstructor or student to easily practiceand objectively assess windperformance, whether at home or inthe classroom!

Using a computer at home, studentscan now monitor their performance oflines from Standard of Excellence tomaximize practice efficiency. Objective,computer-generated test scores can beprinted out and turned in beforerehearsal, or uploaded through theinternet to a central database, wherethe scores are recorded and collatedwith each student’s record.

It’s easier and more affordable thanever. All that’s needed is a PC and amicrophone. Never before havestudents had such a powerful tool toprovide instant feedback on practice.Never before have instructors had sucha powerful tool to assist objectiveassessment!

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PRSRT STDU.S. Postage

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The world’s best-selling band method now comeswith a license for FREE, unlimited duplication ofthe accompaniment recordings for Book 1. Not justthe accompaniment for the first 13 pages… but for the ENTIRE Book!

For additional details call, fax, or e-mail Kjos!

License AgreementEffective immediately, the Neil A. Kjos MusicCompany authorizes unlimited duplication ofthe accompaniment recordings for LEVEL1 ofthe Standard of Excellence ComprehensiveBand Method. The Purchaser of these record-ings is automatically licensed to produce FREE,unlimited copies as needed for distributionamong band students for use in the band class,or individual use at home.

Duplication is limited to Standard ofExcellence, Book 1, CD Accompaniments(W21CD, W21CD1, W21CD2). Authorizedonly for complimentary distribution. Thislicense is now in effect and there is no need tocontact Kjos Music Company for furtherpermission. Unlawful selling, renting, orbroadcasting of this product is expresslyforbidden.

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STANDARD OF EXCELLENCEComprehensive Band Method Book 1

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