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Re: exercises for band (fwd)

> From: Ed Forner <FORNER@xxxxxxxxxxxxxx>
> Subject: Re: exercises for band
> 
> > Greetings,
> > 
> > The band I'm in is made up of people with wide variation in abilities.
> > What's worse many don't have (or don't make) time for studying the basics -
> > articulation, scales, duplets/triplets, etc. As a result, we have some
> > sloppy entrances, different articulations, and not very tight performances
> > overall. Are there any books available similar to beginner band books that
> > include exercises and etudes but for more advanced players? 
> 
> There are really many such books printed in the US, but not specifically for
> brass band. They usually are so well cross-instrumented that any instrumental
> mix can use them. These "Band Exercise...or Etude...books" come in various
> ability levels, generally beginner, intermediate and advanced. They include
> scale exercises and also short polyphonic drills in the same key as the
> preceeding scale. Most include rhythmic variations to be applied to the scale
> exercises. You would need to consult local distributers to determine what might
> be there locally. 
> 
> What do other
> > bands do to increase the overall level of technical ability/intonation in
> > the group?
> 
> I also use a degree of improvisation in my warmup proceedures. Start in B-flat,
> scale, playing quarter notes, then eights (i.e. repeat each pitch twice, not
> double the speed of the scale) triplets, 4-, 5-, 6-, 7- and so on to the beat.
> Then divide the group and have half play from the bottom note, the other half
> from the top...makes the sound much more interesting as the scales cross, and
> works at listening to intonation as well. 
> 
> We also do a bit of theory in that I will say either "That was B-flat, play it
> in G" or i will call for an interval of transposition..."play it down minor
> third". They must deal with both. Clearly rhythmic patterns can be introduced
> by the conductor, who sings JUST ONCE the rhythm to be used, the band then uses
> that rhythm to play the scale pattern. While players warm up in this way, they
> are to adjust pitch and gradually get in proper tune...to this end my lead
> player, in our case the principal clarinet, sounds his B-flat both just before
> the scale is played as well as holding his note on over the end of the scale as
> a reminder. 
> 
> Finally we play a b-flat chord as a last check of intonation. Typically, the
> low instruments play the bass, the middle instruments the third (sometimes
> fifth) and the upper instyruments the fifth/octave (sometimes third). I will
> also ask thjat they take other pitches in the same chord to change both the
> inversion, which changes tuning problems, as well as the color and balance.
> Over time the group is learning both to recognize these shifts, and to
> understand the special requirements of balance and intonation each require.
> Since I prefer a rather dark, mellow sound, we also discuss the color balance
> of the sound the group produces. Always bearing in mind that certain
> compositions will need a brighter sound as a matter of style.
> 
> Using this method gives me a great deal of flexibility in how complex the
> warmups for the group are at any given time, also it gives me a chance to make
> harmonic theory an language with which one can work, and not just exercises in
> the classroom.
> 
> I am not sure this address your local needs, exactly. I would be interested to
> hear about other groups and their warmup and technical development practices.
> 
> best regards to all,
> 
> + Ed Forner			 Macalester College Music Department +
> + forner@xxxxxxxxxxxxxx	     voice (612) 696-6189		+
> +		 St. Paul, MN, 55105			   +


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