The concept of Teaching Musicianship from Day One® can and should relate to all aspects of music instruction. For the purpose of this article, I want to focus on beginning band instruction. It is my hope that you will be able to incorporate the concepts presented in other areas of music instruction.
When developing materials to aid teachers in starting beginning wind and percussion students for the new Yamaha Advantage Band Curriculum, my co-author, Larry Clark, and I analyzed a few of the basic criterion for musical performance that we found to be lacking in performing groups that we have conducted. It was interesting for us to make lists of the things we spent the most time on when rehearsing bands. The surprising thing was many of the same concepts that were musical problems for young bands were the same in more advanced performing groups. After creating a long list of concepts that were recurring problems with most bands we worked with, we began to hone it down.
In this article I want to discuss three recurring problems and propose some easy solutions.
1. Musicians tend to not hold notes for their full value.
2. Musicians tend to not phrase across the bar line.
3. Musicians tend to not listen to the whole group and know how their part relates to the composition/arrangement.
1. Musicians tend to not hold notes for their full value is interesting. When speaking with young and not-so-young musicians, they almost always say that in their beginning instruction they were never taught to hold notes for their full value. Although this may be part of the problem, in my opinion the real culprit is our system of notation. If you visualize a whole note sitting at the beginning of a measure in 4/4 time, you see a symbol at the beginning of a measure followed by a lot of space before you get to the end of the measure. The note does not visually look like it is suppose to be held for all four counts let alone to the downbeat of the next measure. I have found the comprehension of note duration can be greatly improved if the initial visual representation of note values incorporates what I like to call “shape notes.” Shape notes are oval-shaped and take up the full portion of their value in a measure. For example, a whole note in 4/4 time would be an oval shaped note that encompasses the entire measure from the beginning—where it traditionally sits—but extending to the end of the measure. Beginning students see a visual image that relates to the duration of the sound they are going to play. A half note in 4/4 time would be the size of half of the measure, and so on. Today’s beginning student has been brought up in a visual era. They have learned from television and computers, which are both visual media. We have found the simple use of shape notes for the first few weeks of study has brought a true understanding of the correct duration of note values for students that will stay with them for a lifetime. Migrating from the shape note to traditional notation takes place in a matter of seconds. Imagine not having to say: “Hold the whole note over till one,” ever again? Wouldn’t that be great!
2. Musicians tend to not phrase across the bar line is also an easy one to fix. If you review beginning instruction materials and performance music, most of it is written in 4/4 time and in four-measure phrases beginning on beat 1 and ending on beat 4. After months and sometimes years of playing phrases that end on beat 4, or beat 3 (in 3/4 time), it is difficult to introduce the concept of phrasing across the bar line. We believe that when you introduce phrasing, you should immediately have students play familiar melodies that are phrased across the bar line. This should take place on the same day that you introduce the concept of phrasing. The theme from Symphony No. 1 by Johannes Brahms is one of many great musical examples to use for this concept. In this theme, every phrase begins on the fourth beat of the measure, goes across the bar line and ends on beat 3, two measures later. If musicians experience phrasing across the bar as well as phrases that begin and end on other beats early in their study, it will not become a stumbling block later on. Imagine not having to say: “No breath there, phrase across the bar line” ever again? Wouldn’t that be great!
3. Musicians tend to not listen to the whole group and know how their part relates to the composition/arrangement, reinforces the need to develop listening skills from day 1. Playing duets that progress from unison rhythms and harmony at cadences, to unison rhythms and simple harmonies throughout, to duets with some independent rhythms help develop listening skills. The performance of rounds and chorales also reinforce listening skills. Listening skills warm-up activities, where the melody switches between sections or between solo/soli and full band also increase the development of listening skills. Another idea is to develop musical games where each student plays one measure of an etude. This requires listening to each player and mentally playing the entire etude so when each student enters, the rhythm as well as the pitch continues in a musical flow. Beginning performance music that contains limited harmonies and two- and three-part writing will also continue to develop listening skills. It is important to perform some music that is not technically demanding. This music should be designed to enable students to concentrate on listening and playing musically without worrying about technical challenges. Asking students to verbalize how their part fits the musical composition is also helpful. Questions like: Who has the melody at measure 9? Who has the harmony? Billy, what role does your part play in the structure of this section? Questions like these are all helpful in focusing listening skills of young and growing musicians. Rehearsal techniques that include statements like: At measure 24 let me hear everyone who is playing the melody, will help your students develop knowledge of a specific composition, composing and arranging techniques and most important, listening skills. Imagine not having to say: “Listen, if you can’t hear the melody your playing to loud” ever again. Wouldn’t that be great!
The concepts of playing notes for their full value, phrasing across the bar line and developing listening skills are musts for all musicians. All too often—in the beginning stages of learning an instrument—we only think about technique, but these three concepts can be developed right from the beginning.
Make a poster: Musicianship from Day One and put it where you’ll see it everyday as a reminder that musicianship should be part of every musical experience.
About Sandy Feldstein
Sandy Feldstein combines a wealth of knowledge and success in both the business and musical aspects of music publishing and music education. He holds a doctorate from Columbia University and his early experience in education includes six years as Professor of Music Education at the Crane School of Music, State University of New York at Potsdam.
A prolific composer/arranger/author, Mr. Feldstein has published more than 600 musical compositions and books in all educational areas. His works are used daily by thousands of students and performers. ASCAP has recognized his excellence by granting him an ASCAP Standard Award for Composition every year since 1964. Mr. Feldstein was also the 2005 Percussive Arts Society Hall of Fame Award winner.
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