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Building Better Bands June 15-16

at Ronald W. Reagan High School in Pfafftown, NCHosted by Separk Music

With Special Thanks to Conn-Selmer, Inc., FJH Music, GIA Publications, and Hal Leonard Publishing

10:00 AM Registration

11:00 AM “If You Play Something, Say Something” w/ Brian Balmages

12:30 PM Lunch

1:15 PM “Techniques for More Productive Rehearsals” w/ Tom McCauley

2:30 PM “Practical Warm-Up Techniques” w/ Brian Balmages*Playing Session*

3:45 PM “Mythbusting: Teaching Single Reeds Successfully” w/ Tracy Leenman

5:00 PM “Every Child Achieves Act: A Call to Action” w/ Phillip Riggs

6:00 PM Dinner

7:00 PM Conducting Masterclass w/ John Ross*Playing Session*

8:30 PM Fellowship at River Ridge Tap House

Thursday, June 158:00 AM Breakfast

8:45 AM “One Person Can Make a Difference/What Kind of Difference Does One Person Make?” w/ Tim Lautzenheiser

10:15 AM Conducting Masterclass Pt. 2 w/ John Ross*Playing Session*

11:45 AM Lunch

12:30 PM "Creating a Positive Environment for Maximum Learning” w/ Tim Lautzenheiser

2:00 PM "Taming the Bundle of Twigs” w/ Tracy Leenman

3:15 PM “Selection, Programming, & Preparation of Repertoire” w/ Tom McCauley

4:15 PM Final Words and Thanks

Friday, June 16

“If You Play Something, Say Something” w/ Brian Balmages

11:00 AM, Thursday, June 15 Page 1 of 72

“Techniques for More Productive Rehearsals” w/ Tom McCauley

1:15 PM, Thursday, June 15 Page 1 of 72


Building Better Bands SeminarJune 15, 2017

Ronald Reagan High SchoolPfafftown, NC

Techniques for a

More Productive RehearsalA session for band directors at all levels.

presented by

Dr. Thomas McCauleyDirector of University BandsJohn J. Cali School of Music

Montclair State University

New Jersey State RepresentativeCollege Band Directors National Association

Program Coordinator and Artistic DirectorWindhavenWeston, VT

Let’s begin with some music…



Danny Boy(Irish Tune from County Derry)

Some Things I Believe· One can never learn a score well enough.· You can never be too prepared.· You should say what you mean, mean what you say, and then stop talking. · We band directors need to have a frank discussion regarding the musical and

educational value of marching band.· You must have more than your work in your life.· Never ask anyone to do anything that you yourself are not willing to do.· It’s what you DO that matters; not what you think about doing, or intend to

do, or want to do.· I have learned far more from my students than they could possibly have ever

learned from me. · I have rarely ever learned anything by talking. I have learned a great deal in

my life through listening, watching and doing.· All students want to feel appreciated, needed, protected, and that any deci-

sions one makes should be made in the best interest of the students.

It’s All About YouAs band directors, we have an amazing amount of influence on our students. It only sometimes takes a small spark of improvement within an ensemble to fuel what will eventually become a raging fire. You are their leader. If you believe in them and lead them to what is possible, they will begin to believe in themselves. But…

“Before you can inspire with emotion, you must be swamped with it yourself. Before you can move their tears, you own must flow. To convince them, you must yourself be-

lieve.”Winston Churchill (1874 – 1965)

Many of the young students in your ensembles don’t listen to or respect their own parents, so why in the world would they listen to or respect you? They will listen to and respect you because:

· You have their best interest in mind and are willing to go “above and beyond the call of duty’” to accomplish what you believe is best for them.

· You are fully and completely committed to what you do and in the repertoire you choose.

· You are fair and consistent in your treatment of all.



· You are a model of self-improvement and high self-expectations.

· Students will enter your classroom with the expectation that something won-derful and beautiful is about to happen.

· You never ask anyone to do something that you yourself are not willing to do.

· When classroom problems occur, you always look inward to examine if it was you who caused this problem.

“Progress is impossible without change, and those who cannot change their minds cannot change anything.” ~George Bernard Shaw

“Just because something is tradition doesn't make it right.” ~Anthony J. D'Angelo, The College Blue Book

“The most damaging phrase in the language is: "It's always been done that way." ~Grace Hopper

“Those who dare to teach must never cease to learn.” John Cotton Dana

The Plan¥ The First Ten Minutes

¥ Slow Piece

¥ Announcements (Band “Biz”)

¥ The Center Piece

¥ Announcements II (if needed)

¥ Opener

The First Ten MinutesThe goals of the first ten minutes are to:

· Have each ensemble member listen to each other and themselves.· Establish the expectations for the rehearsal in terms of sound, pitch, balance,

and individual responsibility.· Make soft, beautiful sounds.· Strengthen the communicative bond between conductor and ensemble.



Step 1Long TonesThis is better known to most as the Remington Exercise. For most groups, I provide a clearly audible, electronic pitch to be used as the “base” for our work together. Providing a pitch base from a consistent source is VITAL because you can’t expect a student to listen if you do not provide information about to whom or what to listen. I allow this base pitch to continue to play during most of the session so that when there is a break between exercises, the base pitch is continually burned into the minds of the students.

I insist that it be played as softly as possible while still making the most beautiful sound of which they are capable, and that the sound of the band is CONTINUOUS. Students may breathe whenever and wherever they’d like EXCEPT when we change pitches. They are encouraged to “make their individual sound disappear into the sounds around them”. These rules hold true for all of the steps that follow.

We normally continue this exercise down to Ab concert:

This unison / octave exercise should of course be played in the most comfortable oc-tave for each instrument. As you do it, do not accept anything other than the most beautiful, in-tune sound of which the ensemble is capable with no individual sounds “sticking out” of the texture.

Step 2ScaleOnce we arrive at Ab concert, I take about 5-10 seconds for them to rest, change my electronic pitch to Ab, let them listen to it for a second or two, and begin playing a unison/octave Ab concert scale. I use the Ab scale because it lies better on most in-struments, has a warmer sound, and mostly because it is NOT the Bb concert scale. Our students have, in many cases, been playing the Bb concert scale as a “warm-up” in their various band programs for years. This is a classic case of familiarity breed-ing contempt. Some of our students have an ingrained aural image of what a Bb con-cert scale should “sound like.” With Ab (or any other key I suppose) you need not re-program the students’ aural images. This scale should be played exactly in the man-ner used to describe the “Remington” above; Soft, CONTINUOUS sound.

Step 3Rhythm and Articulation



Using the same Ab scale, we now merge into a rhythm, articulation, and awareness exercise. Again, be certain that the band continues to play as softly as possible while still making the most beautiful sound of which they are capable, and continue to ex-pect each player to fit their individual sound into the sounds around them.

Feel free to change the tempo of this exercise daily. You may also feel free to change the articulation each day. You may choose to approaching it slowly and legato one day, and fast and leggiero the next. When I make changes to this exercise, I normally don’t tell the group beforehand. I will simply try to SHOW what it is I’m after (longer, shorter, lighter, heavier, etc) through the manner in which I move on the podium. “Did anyone notice what I was trying to tell you there?” Another good way to teach style of articulation is to say,

“Let’s play this as if it were written by Mozart.”“Let’s play this as if we are “skipping” over the notes.”“Let’s play this as if we are reluctant to leave each note.”“Let’s play this as if each note weighs 100 pounds.”“Let’s play this as if we are in a hurry.”“Let’s play this as if we are accompanying a soloist.”“Let’s play this as if it were a love song.”“Let’s play this as if the notes were glued together.”“Let’s try to make silence between each note.”

Step 4Scale ChoraleMany of us already use this in our rehearsals. For those who haven’t, divide the band into three groups:

Group 1: Tubas, Euphoniums, Trombones, Bass Clarinets, Bassoons, and Baritone Saxophone

Group 2: Horns, Alto Saxophones, Tenor Saxophones, 2nd and 3rd Clarinets, 2nd and 3rd Trumpets

Group 3: Piccolo, Flutes, Oboes, 1st Clarinets, 1st Trumpets

All groups should begin on the first note of the scale but at different times, forming changing triads as you ascend. Once a group reaches the top note of the scale, they should begin to descend.

Insist that they continue to abide by the ”rules” above. They should be encour-aged to listen as far away from themselves as possible and to try to listen for some-one in another section who is playing their same pitch.



Additional Considerations

1. One of your main goals should be to expect your group to take full responsibility for the musical elements of which they, and they alone, have control: pitch, balance, beauty of tone, rhythmic accuracy, and the inevitability of musical line. To accomplish that goal, ask questions, such as:

• “Tell me one thing you liked about what we just played.”

• “Tell me one thing you didn’t like.”

• “Did that sound together to you?”

• “Does anyone know why I stopped you?”

• “Who has the melody here?”

• “What musical “role” are you playing?”

• “Did anyone notice what I was doing there?”

• “Someone describe the music we just played.”

2. In addition to accomplishing well-defined musical and technical goals for the group, your intention should be to accomplish three additional goals during every rehearsal. The three additional goals should at the very least have the following attributes:

Attribute 1 – One Moment of Beauty

Attribute 2 – One Moment of Realization

Attribute 3 – One Moment of Fun



3. Soloists from within the ensemble are placed in a particularly vulnerable position dur-ing rehearsals. I sometimes view them as skittish cats that can be spooked by sudden movements. Try to leave soloists alone during the actual rehearsal. If I do cast a glance in their direction, it’s only to communicate support for their efforts. If I need to discuss a soloist’s performance or preparation, I do so outside of the rehearsal setting. Very few good things result from singling out a soloist during rehearsal. You should spotlight them only for praise and encouragement.

4. Remember that there is no substitute for preparation, musicianship, and sincerity on the podium.

5. After each rehearsal, evaluate what went well, what didn’t go well, and begin planning for the next rehearsal.

6. Each time you stop the band, have a reason and communicate that reason to the en-semble. If you simply say, “Let’s go back to letter A,” without setting expectations for improvement, you will get exactly what you just heard. You are now officially wasting their time and yours. If you must go back because you made a mistake, admit it to your-self and to the group. Most of the time, they already know it was your fault.

7. Have your rehearsal space prepared and ready to go when the students arrive. This sends the signal that you are ready for them and can’t wait to get started.

8. To make the atmosphere more pleasant, use language like:

¥ “Let’s go back and listen to....” rather than “I need to hear....”

¥ “Could we please try....” rather than “Go back to ...”

Also, don’t forget to say “please” and “thank you” as often as you can. Not only does this help to set a more professional working environment, but it also indirectly teaches the students how to interact with one another. Your goal is to make each rehearsal not about you, but about the students and the music.

Democratic VS Dictatorial

The democratic ensemble directors are as responsible for musical vision and building and maintaining a culture of excellence as were their predecessors from days gone by. But the journey toward these ideals is quite different. Here are a few examples:

Dictatorial: “Make a crescendo that begins in measure 15 and culminates on the second beat of measure 16.”



Democratic: “Where do you believe the music that begins in measure 15 is going? How can we shape this phrase so the culmination is clear to the listener? How must we adjust our ensemble balance to make it clear? Why do you believe the composer made this mu-sical choice?”

Dictatorial: “Softer there, accompaniment!”

Democratic: “Who among us is playing the theme at letter C? Can you hear them? Do you believe the listener can hear that theme?”

Traditionally, the when, what, and how of ensemble performance have been the focus of the dictatorial mindset. The more inclusive, democratic approach certainly must address these issues, but it also focuses far more on the why of music preparation and perfor-mance:

¥ Why must a crescendo happen?

¥ Why must we listen to a particular sound at a particular time?

¥ Why does this note have a certain importance in one phrase, but serves a totally different function in another?

Why must we “humor” the leading tone toward its intended destination? The ultimate goal of this approach is to develop a keen sense of ensemble awareness among the students and to encourage and, indeed, expect them to make informed and in-tuitive musical decisions, particularly with regard to pitch, balance, and inevitability of musical line. It encourages increased individual responsibility from every member of the ensemble—not through fear, but through a deeply felt physical, mental, emotional, and spiritual investment on the part of each student in the musical outcome. The dictatorial conductor’s goals included the development of a well-oiled, musical “machine” whose performances are technically flawless and musically satisfying upon initial hearing. One might discover, however, that a second hearing would provide little interest

9. Don’t say something is “good” if it isn’t. Many band directors use this word each time they stop the ensemble. Your students will tend to believe what you say. If you tell them that they are “good” when they’re not, they will learn to not trust you. Or worse, they will think they really are good, and you have just set the bar way too low. This is just a habit, and habits can be changed. When you stop, instead say, “Thank you.” It’s polite and not misleading in any way. This way, when you do finally say, “Good,” it will have an im-pact and actually mean something.

10. If you reach a point in a rehearsal when you have tried all you know, but obvious im-provement is not happening, tell your students, “I’m going to think about this some more



and will get back to you tomorrow.” Before the next rehearsal, devise some exercises that might help get your point across and implement them at the next rehearsal.

11. Try rehearsing a piece “in reverse.” Rehearse the ending first, and work back from there. Start with the return of the A section because it will make rehearsing the first A section easier. Then focus on the B section, then the coda, then the first A section, and

then the introduction.

12. If the piece you are planning to rehearse contains unusually difficult passages for cer-tain sections of the ensemble, begin work on those sections early in the rehearsal process. Give students an appropriate amount of time and advanced notice to prepare on their own, but don’t wait too long before slowly trying to bring that particular portion of the piece to life.

13. If a portion of a piece requires that individuals from different sections play as a small chamber ensemble, have those individuals sit together during a part of the rehearsal. Be creative with your seating arrangements, and don’t be afraid to make a change to help fa-cilitate the composer’s musical intent.

14. I’m not a big fan of choosing repertoire based on the idea that the percussionists “need to have something to do.” Your percussionists chose to be percussionists. A big part of a percussionist’s life is being patient and counting rests. However, if I have a choice between programming a piece that includes active percussion parts and one that doesn’t (with all else being equal), I will program the more active percussion piece. If it turns out that you have selected a program with few musical and/or technical challenges for your percussion section, then consider programming a percussion ensemble piece on that concert. Rehearse it before school, after school, during lunch, or (if possible) during your regularly scheduled rehearsal time.

15. When rehearsing the end of a piece, do not play the last note unless you are done working the ending or you are rehearsing the last note. It is frustrating for young players to “finish” the piece and then have you say, “Okay, everybody, back to letter A.”

16. Pay attention to what is happening (or not happening) in the percussion section. Take advantage of every opportunity to include percussionists in the rehearsal process. They need to feel that what they are playing is part of the whole, rather than something apart from it. Be attentive to the sounds they are creating and the manner in which they are cre-ating them. Know and be able to demonstrate the techniques required for a beautiful cym-bal crash or triangle hit (it’s not easy!). Practice every instrument yourself so you can give specific tips to your players.

17. Sometimes before beginning the rehearsal process on a challenging piece, I play a high-quality recording of the piece for the ensemble. Sometimes playing the recording is all I do on the first day. In addition to showing students what is possible, playing a good-quality recording will help burn an impression of the sound of the piece into their memo-



ries. Having excellent musical role models is extremely important for musicians of all levels!

18. Teach your students how to practice. They will learn this through the manner in which you rehearse. Point this out during rehearsals by saying, “Did you notice how we just rehearsed that thorny passage? We extracted it from the piece, worked on it slowly, and then put it back into context. This is how you should practice at home.”

19. As each rehearsal progresses, you may find that tone quality, pitch, and balance of the ensemble diminish. This is where your work in the first ten minutes of rehearsal becomes a valuable ally. Use the sound they created in the “sensitivity session” as your base, and refer back to that when things aren’t going well.

20. Take every opportunity to compliment the group or individuals within it. Compliment even the slightest observable improvement. Again, make sure the compliment is specific and directed at specific people. “Good job” or “Well done” are empty compliments that don’t help students think about the larger picture. Of course, don’t compliment any group if it’s undeserved. However, a creative teacher can almost always find something to com-pliment. For example:

¥ “I really like the way your are concentrating there. Keep it up!”

¥ “Letter A is much better than it was yesterday.”

¥ “It’s obvious that you have worked on that passage. Keep going!”

¥ “You all have come a long way on this piece and, although we still have a way to go, you are to be congratulated on your efforts.”

¥ “I really liked the way in which you attempted to match pitch on that note. Now, can we please try...”

¥ “I really love those shoes!”

Sometimes a gesture as simple as saying “hello” in the hallway as classes change or a warm smile in a student’s direction can go a long way toward improving students’ atti-tudes when they are in rehearsal.

21. I recently (way too late) began writing and sending rehearsal notes to my group after certain rehearsals. The notes usually include suggestions for improvement on specific portions of the works we are rehearsing. This is a real timesaver and sends an unspoken message to the group that if they read and implement the suggestions in the notes, re-hearsals will be more effective and interesting. These are sometimes time consuming to



complete, but it’s important for your students to see that you are investing at least as much time as you are asking them to commit.

22. Be sure everyone is aware of the rehearsal order each day. This can be posted at the beginning of each week and adjusted as needed. Minimally, you should post the rehearsal order on the board before every rehearsal (along with the daily announcements).

23. Have a non-verbal “cue” to begin each rehearsal. I use the podium. I stand near the podium making small talk with students before each rehearsal, and when I want to begin, I simply stand on the podium. It may take a while for all students to begin responding to this cue, but in the end, it is a great timesaver. It also sends the message that when I stand on the podium, our music making begins. For this to be effective, however, I can’t stand on the podium for any reason prior to the start of rehearsal. I also try to limit any talking while on the podium, if at all possible. If I have something to say that might take a minute or two to express, I step off the podium to say it.

24. Sometimes the most effective way to get your group to play together is to stop con-ducting. Let students start themselves and play without any visual stimulation from you. This forces them to become more aware of what is happening around them. If it falls apart, let it, and then begin again. Get off the podium and walk around the room while they do this. You will learn a great deal about your group. You will find that they play much better without you. Don’t take it personally. With the absence of visual input from you, their aural awareness immediately improves. Use this tactic every day, and your stu-dents will become more sensitive and responsive to balance, pitch, rhythm—everything.

25. Try conducting a “silent” rehearsal where you don’t say a single word. Aside from this being really valuable for your personal improvement as a conductor, it also forces your ensemble to heighten their awareness of what is happening on the podium and in the room. Other than a simple, “Good afternoon,” I normally don’t speak my first words to the group at least until after the first ten minutes have elapsed.

26. To enhance your effectiveness on the podium, make a video recording of each re-hearsal. Evaluate your effectiveness as objectively as you can. Make a personal plan for improvement each day. This not only helps you, but it also sends a powerful signal that you are always trying to personally improve. Again, if you expect your students to prac-tice and improve, you must lead by example.

27. On occasion (I usually do this after several rehearsals on a piece), I make an audio recording of the group playing through a work in its entirety. Then I play the recording for my ensemble and ask them to take notes on the following:

¥ How they might improve their individual performance

¥ How we might improve the group as a whole After listening to the recording, we have a short discussion about what they just heard. I sometimes repeat this process as the performance draws



near. It’s important that students hear their improvement and identify the areas in which more improvement is required. This exercise can be very enlightening for everyone involved.

28. Holding sectional rehearsals is extremely valuable, but sectionals are only valuable if there is a plan and a leader—and if everyone is present. Sectional rehearsals provide stu-dents with an opportunity to learn to lead, to follow, to focus on passages in the music specific to their instrument, and to adhere to a specific plan for improvement. Ask princi-pal players to formulate a lesson plan for their sectionals, complete with observable out-comes. This is just another method to help students assume responsibility for themselves and their colleagues.

29. Use students’ names in rehearsal whenever possible. Addressing students by their given name rather than as an instrument (“First trumpet, let me hear...”) sends the mes-sage that you consider them not just players, but also people.

30. You know the saying, “There is no such thing as a stupid question”? In my experi-ence, this isn’t true. I am asked questions on a daily basis that could easily be answered if the questioners just took a moment to think about what they were asking. Encourage your students to seek out answers for themselves before interrupting the flow and rhythm of a rehearsal.

31. If you find that most of your rehearsal time is dedicated to “fixing” the band in terms of notes and rhythms rather then focusing on musical issues, then the piece you have cho-sen is too difficult for your group. Choose wisely! And if all else fails, don’t be afraid to abandon ship!

32. Remember that you deal every day with young people who are still works in progress. Your students’ abilities to reason and fully understand the consequences of their actions are not yet fully formed. When I encounter a “challenging student,” I try to remind my-self that the person I am talking to and working with today does not necessarily possess the ability to conceptualize like he or she will have ten years from now. This does not lower my expectations of a student, but it helps me to remain calm during the more trying times.

33. It bears repeating that none of the above suggestions and plans will work if you as the conductor are not completely prepared for each and every rehearsal. That said, there might certainly be an occasion when you will need to enter a rehearsal situation for which you are not as prepared as you’d like. I simply admit this to the group beforehand and ask that they try to be as patient and as helpful as possible. Keep in mind, though, that you can’t get away with this too often before you begin to lose the respect of the group. Don’t try to fool the group. It never works.

Suggested Reading



Barber, Charles. Corresponding with Carlos: A Biography of Carlos Kleiber. Scarecrow Press, 2013.

Battisti, Frank L. The Winds of Change. Galesville, MD: Meredith Music Publications, 2002.

–––––––. On Becoming a Conductor. Galesville, MD: Meredith Music Publications, 2007.

Blum, David. Casals and the Art of Interpretation. Los Angeles, CA: University of Cali-fornia Press, 1977.

Casey, Joseph L. Teaching Techniques and Insights for Instrumental Music Educators. Chicago: GIA Publications, Inc., 1991.

Csikszentmihalyi, Mihaly. Flow: The Psychology of Optimal Experience. Harper Peren-nial Modern Classics, 2008.

Elliott, David J. Music Matters. New York: Oxford University Press, 1995.

Jurrens, James. Tuning the Band and Raising Pitch Consciousness.RBC Publications, 1991.

Company, 2002.Leinsdorf, Erich. The Composer’s Advocate: A Radical Orthodoxy for Musicians. Yale University Press, 1982.

McBeth, W. Francis. Effective Performance of Band Music. Southern Music Company, 1972.

McGill, David. Sound in Motion. Indiana University Press, 2009.

Schuller, Gunther. The Compleat Conductor. New York: OxfordUniversity Press, 1997.

Williamson, John E. Rehearsing the Band. Meredith Music, 2007.

Zander, Rosamund, and Benjamin Zander. The Art of Possibility. New York: Penguin Books, 2002.

Thomas McCauley is currently the Director of University Bands in the John J. Cali School of Music at Montclair State University in New Jersey where he conducts the Montclair State University Wind Symphony and Symphonic Band, and teaches both graduate and undergraduate conducting. He has held similar positions in the states of In-diana, Ohio, and Illinois in addition to teaching high school instrumental music in Nevada for nine years. Composers including Karel Husa, David Gillingham, Joseph Tur-



rin, Bruce Yurko, Robert Aldridge, Morten Lauridsen and O’Neal Douglas have praised his work. In December of 2010, Dr. McCauley appeared as a clinician in Chicago at the 64th annual Midwest Clinic. Each November, he hosts and teaches a symposium at Mont-clair State University called the Weekend Wind Conducting Symposium with special guest clinicians and participants from around the world.

Dr. McCauley is in demand as a guest conductor, clinician, and adjudicator throughout North America. Ensembles under McCauley’s direction have appeared at national and re-gional conventions and conferences, and he has collaborated with artists including The Imani Winds, The Manhattan Brass Quintet, Warren Vache’, Demondrae Thurman, and Phil Smith.

Dr. McCauley has been published in The Instrumentalist magazine, several state music magazines, and in the second edition of Teaching Music Through Performance in Band, Vol I published by G.I.A. publications. In 1995, the Nevada Music Educator’s Associa-tion named Dr. McCauley Music Educator of the Year and in 2006, the Indiana Music Educators Association honored Dr. McCauley with an Outstanding University Music Ed-ucator Award. Dr, McCauley’s book titled, Adventures in Band Building (or How to Turn a Less-Than-It-Could-Be into a More-Than-It-Should-Be) is published by G.I.A. Publications. He currently serves on the Executive Board of the New Jersey Band Associ-ation, the New Jersey State Representative of the College Band Directors National Asso-ciation, and is the former New Jersey State Representative of the National Band Associa-tion. He is also an active member of the World Association for Symphonic Bands and Ensembles, and the National Association for Music Education


“Practical Warm-Up Techniques” w/ Brian Balmages


“Mythbusting: Teaching Single Reeds Successfully” w/ Tracy Leenman


“Every Child Achieves Act: A Call to Action” w/ Phillip Riggs


“One Person Can Make a Difference/ What Kind of Difference Does One Person Make? w/ Tim Lautzenheiser

8:45 AM, Friday, June 16 Page 1 of 72

“Creating A Positive Environment for Maximum Learning” w/ Tim Lautzenheiser

12:30 PM, Friday, June 16 Page 1 of 72

“Taming the Bundle of Twigs” w/ Tracy Leenman


“Selection, Programming, & Preparation of Repertoire” w/ Tom McCauley



Building Better Bands SeminarJune 16, 2017

Ronald Reagan High SchoolPfafftown, NC

The Selection, Programming, and Preparation of Repertoire

A session for band directors at all levels.

presented by

Dr. Thomas McCauleyDirector of University BandsJohn J. Cali School of Music

Montclair State University

New Jersey State RepresentativeCollege Band Directors National Association

Program Coordinator and Artistic DirectorWindhavenWeston, VT



Other than the actual teaching of your students, the selection of repertoire is per-haps the most important task a band director undertakes. Your programming plan should mirror the five-year plan for your band program. You are, in essence, pro-gramming for the process of band building. Your repertoire is, in fact, your curricu-lum. Today, there are literally thousands of new works published for band each year. Many of them are the same piece with different titles, and so it’s more impor-tant than ever that band directors make wise repertoire choices. My programming decision-making process has been the same for many years and has been employed for use by both high school and university band programs.

“Learn all you can from the mistakes of others. You won't have time to make them all yourself.” ~Alfred Sheinwold

Programming for the ProcessEach piece you program should be a link in the chain that connects your current bands to the bands you want to have. Recruitment, retention, and choice of repertoire are the most important tools used to build band programs.

Product VS ProcessIn a professional musical organization, we have rehearsals because we have a concert. In an academic-based musical organization, we have a concert because we have rehearsals.

We are not in the concert business…We are in the EDUCATION business.

IT IS ALL ABOUT THE PROCESS!

Programming for One Ensemble¥ Opener¥ Slow Piece¥ Evocative Piece (opt)¥ Soloist (opt)¥ Intermission¥ Large Piece¥ Closer (opt)

Sample Program:Stamp…………………………....Gavorkna Fanfare Lauridsen / Reynolds……..O Magnum Mysterium Haydn / Hunsberger…….…Concerto for Trumpet in E-flat

- - - - - INTERMISSION - - - - - Varese………………………..…..Octandre (for 8 Instruments) Colgrass………………….……..Winds of Nagual Bernstein / Grundman…….Slava!



Programming for Two EnsemblesSample Program:

Stamp………………………...Cenotaph Fanfare Wiley…………………………Old Scottish Melody Jager……………………….…Third Suite Reed………………………….Armenian Dances (Part 1)

- - - - - INTERMISSION - - - - - Dvorak…………………….…Serenade in D Minor, Op 44Grainger……………………..Colonial SongHusa……………………………Music for Prague 1968

The Concert “Menu”¥ Appetizer¥ Soup¥ Salad¥ Main Course¥ Dessert

Building a concert program is much like planning a several- course meal complete with appetizer, soup, main course, and dessert. We need sweet, savory, rich, and light offerings on the menu. If all of the courses taste the same, your restaurant will eventually fail. Following is a sample menu with some recommended titles for each level. Also, I have found the following resources to be very helpful in finding addi-tional repertoire:

¥ GIA Publications (www.giamusic.com) – Teaching Music through Perfor-mance in Band Series

¥ J. W. Pepper (www.jwpepper.com)

¥ Manhattan Beach Music (www.manhattanbeachmusic.com) – Best Music for Beginning Band, Best Music for Young Bands, Best Music for High School Band

¥ FJH Music Company (www.fjhmusic.com)

¥ C.L. Barnhouse Company (www.barnhouse.com)

¥ Neil A. Kjos Music Company (www.kjos.com)

¥ Daehn Publications (www.daehnpublications.com)

¥ Alfred Music (www.alfred.com)



¥ Grand Mesa Music (www.grandmesamusic.com)

¥ TRN Music (www.trnmusic.com)

¥ Southern Music (www.southernmusic.com)

AppetizerWhen I taught marching band, a really great band director told me that it was im-portant that our field show, no matter how it began, should contain the first big mu-sical moment within the first thirty seconds. You should approach the opening piece on a concert program in much the same manner. Whether it’s a fanfare, a march, or an overture, the first piece should show what the group can do and leave the listen-ers looking forward to the remainder of the meal.

A few examples:

¥ EASY:

Rob Grice Shine

James Curnow Suncatcher

¥ MEDIUM:

Ralph Vaughan Williams Flourish for Wind Band

Jack Stamp Cenotaph

¥ ADVANCED:

Jack Stamp Gavorkna Fanfare

Richard Strauss Vienna Philharmonic Fanfare

Shafer Mahoney Sparkle

Paul Dukas Fanfare from “La Peri”

Dmitri Shostakovich/arr. Hunsberger Festive Overture

Leonard Bernstein/arr. Grundman Overture to “Candide”



Soup

The slow piece on the program should highlight tone, musicality, and sensitivity of your ensemble. If approached with love, commitment, and consistency in rehearsal, this piece will not only help your students improve exponentially in terms of sound, listening, and expression, but placing it in this spot on the concert program will help your listeners realize that they are in for an interesting evening of music making.

A few examples:

¥ EASY:

David Holsinger A Childhood Hymn

¥ MEDIUM:

David Holsinger On a Hymnsong of Philip Bliss

Jacob De Haan Ammerland

Larry Daehn As Summer Was Just Beginning

Percy Grainger/arr. Bainum Australian Up-Country Tune

¥ ADVANCED:

Johannes Brahms/arr. Buehlman Blessed Are They

Percy Grainger/ed. Rogers Colonial Song

Percy Grainger Irish Tune from County Derry

William Bolcom Song (for band)

J. S. Bach/arr. Reed Come, Sweet Death

Richard Wagner/arr. Votta Trauermusik

Richard Wagner/arr. Cailliet Elsa’s Procession to the Cathedral

Salad

(SOLOIST / GUEST CONDUCTOR)Learning how to accompany a soloist is extremely valuable for both your ensemble and you. Try to invite a soloist to appear on your concerts as often as possible. It is an educational experience because a guest soloist or conductor’s point of view al-most always brings a fresh perspective on the repertoire.



Main CourseThis is the “meat” of your concert program. This piece should challenge your ensem-ble musically, technically, and emotionally. This is the piece around which all of the other pieces are assembled. It is longer, more complex, and should challenge the performers as well as the listeners to think and feel in new ways. Few main courses arrive at the table without some sort of vegetable included. Don’t shy awayfrom dis-sonances, improvisation, or unique instrumental timbres when selecting, preparing, and performing this piece. I’ve called it evocative for a reason. This is the opportu-nity for your students and your listeners to experience new tastes and textures.

A few examples:

¥ EASY:

Hugh Stuart Three Ayres from Gloucester

Timothy Broege Sinfonia Six

¥ MEDIUM:

Norman Dello Joio Scenes from “The Louvre”

Elliot Del Borgo Do Not Go Gentle into That Good Night

¥ ADVANCED:

Percy Grainger Lincolnshire Posy

J. S. Bach/arr. Hunsberger Toccata and Fugue in D Minor

Michael Colgrass Winds of Nagual

John Mackey Redline Tango

Paul Hindemith Symphony in B-flat

William Bolcom First Symphony for Band

Charles Ives/arr. Schuman Variations on “America”

Arnold Schoenberg Theme and Variations, Op. 43



Dessert

If time allows, this is the place to include the “sweet” on the concert menu. It should be short, light, and to the point. It is not necessary, but it is a nice conclusion to a sat-isfying dining experience.

A few examples:

¥ EASY:

Warren Barker A Galop to End All Galops

¥ MEDIUM:

Dmitri Shostakovich Galop

¥ ADVANCED:

Dmitri Shostakovich/arr. Reynolds Folk Dances

“Selling” Your Choices

¥ YOU are the best salesperson for your rep

¥ Captain Underpants VS Shakespeare

¥ Carrots

¥ Context / Recordings

¥ Rehearse it as if it is the best piece ever written!



Study and PreparationOur Goals:

1. To know each piece as if we composed it.2. To enhance each students’ ensemble awareness and good listening through

our knowledge and internalization of the score.3. To recreate the story the composer is trying to tell.4. To show your students what is possible.

Why Study?¥ Study is “the great equalizer”.¥ Analysis IS performance.¥ You study so you can interact with the music.¥ You study so that you and your students can have the most profound experi-

ence possible.

My Study MethodThe only substantial way to obtain a specific, clearly defined vision of any work is through careful, constant score study. There are as many ways to internalize a score as there are people who internalize them, but regardless of the methods used, the outcome must always be the same. Conductors must be able to hear their vision of the piece “loudly” inside before stepping onto the podium for the first rehearsal. The method I currently use to internalize a score comes most directly from Dr. Mallory Thompson, who I had the privilege to study with during my doctoral residencies.

This score study method consists of three distinct levels:

DISCOVERY

IMAGINATION

INTERNALIZATION



DISCOVERY‘How does this go?’

“Pre-Study” Activities:1. Composer background2. Background of the piece / significance of the piece / what else was the composer working on at the time?3. Other pieces by same composer

I’ve found it helpful to either; write all of this stuff in / on the score itself, or keep a file on each composer that you throw in occasional articles, etc.

“Discovery” Study Activities:1. Peruse and “Play-by-Play”

When attempting to learn a new piece, it is important to begin to first under-stand the big picture. To begin this process:

a. With your legal pad at your side, begin paging through the score, note anything on the legal pad that catches your eye (major structural points, solo moments, key changes, tempo changes, etc.)

b. Look through the score again. This time, write (in prose) a “play-by-play” of the piece on the legal pad. Approach it as if you writing a let-ter to someone for whom you were trying to describe what happens in the piece.

2. Large Form After completing the process above, begin looking more closely and begin to discover how the piece is constructed. Use your legal pad to help you keep on track. Label the start of each new section in the score (Theme 1 Area, Devel-opment, etc.) in pencil (you may change your mind later!)

3. Theme Identification / InternalizationOnce the large, formal sections are identified and labeled, it is time to begin the process of clarifying all thematic materials:

a. Identify all major themes (melodies)

b. Play each theme on the piano (or your instrument), and sing each of them until you can play or sing it without looking at the score.c. Once the themes have been transformed into sound in your head, write each theme (in concert pitch) on a blank piece of manuscript pa-per without looking at the score. Consult the score afterward to cor-rect any errors.

d. Identify and label each theme on the score.



4. Detailed Form ChartAfter you feel comfortable with the thematic material and the overall form, it is time to begin examining the score with more acuity. To accomplish this, you will create a “chart” of the piece on your legal pad. I will distribute a copy of one of my charts as an example during class but, basically, the chart in-cludes:

a. One inch per measure of the piece with each measure numbered, and any/all rehearsal indicators given by the composer.

b. The labeling of each phrase (large and small) with an arch.

c. The labeling of each thematic entrance and the instruments which play them. Example: “Theme 1: P, F, Eb, C1” I use the following instrument abbreviations:

Piccolo = PFlute = FOboe = O

English Horn = EHBassoon = BSN

Contra Bassoon = CBNEb Clarinet = EbBb Clarinet = C

Alto Clarinet = ACBass Clarinet = BC

Contra Bass Clarinet = CBCAlto Saxophone = AS

Tenor Saxophone = TSBaritone Saxophone = BS

French Horn = HCornet = CORTrumpet = T

Trombone = BEuphonium = E

Tuba = TUTimpani = TIMP (or TP)

Other Percussion:Snare Drum = SDBass Drum = BDCymbals = CYM

Vibraphone = VIBMarimba = MAR

Xylophone = XYLOChimes = CH

Glockenspiel (bells) = BELLSTenor Drum = TD



Tambourine = TAMBGong (tam-tam) = GONG

Woodblock = WBTemple Blocks = TB

Strings:Violin 1 = IViolin 2 = IIViola = VLACello = VCBass = DB

d. The labeling of all accompaniments, counter-melodies, and the in-struments playing them in each measure where they occur.

IMAGINATIONHow should this sound?

After obtaining more insight about how the piece is constructed, and what happens when, it is time to start building an aural “vision” of the piece as we believe the com-poser intended it to sound. Access to a piano will help this, and the use of a metronome is vital!

“Imagination” Activities:1. Phrase-by-Phrase

a. Set your metronome at the prescribed tempo. If the piece has a vague tempo marking (“Allegro Moderato”, etc.), make an educated guess as to the correct tempo. The true tempo will begin to reveal itself as this process con-tinues. If, at first, you are unable to “hear” things at the prescribed tempo, slow it down until you can. Approach this process much in the same manner in which you would practice each phrase on your instrument.

b. Using the score and the chart you created, sit in silence and try to inter-nally “hear” each phrase. Try to “hear’ it by looking at the score (do not “conduct” while doing this!), and then try to “hear” it by looking only at your chart. As you do this, imagine specific phrase shapes, note shapes, balances, and tone colors.

c. As you imagine specifically how you believe the composer would have wanted a particular phrase or section to sound, write those specifics in your score. Try to make a decision regarding every sound in the score. The more specific you are in this phase of your preparation, the more defined and transparent the sound of your group will be.

2. Adjectives and Descriptors



As you continue imagining the sounds, begin imagining adjectives and de-scriptive phrases you would use to describe the imagined sounds. Write these adjectives in your score and on your chart. You will want to have at least one adjective for every phrase or section. These adjectives will help you better internalize the sounds and, in addition, will help you teach the piece to your group. Make the selected descriptors personal. Generic words like “loud”, “soft”, and “smooth” are not as effective as words like, “bold”, “gentle”, and “like glass”. The more personal the adjectives are, the more effective they will be.

INTERNALIZATIONHow should this feel?

After spending as much time as needed discovering what is in the score, and after spending time in silence imagining how we believe the composer would want it to sound, we can now begin to better transfer the informed and imagined sounds into our bodies.

“Internalization” Activities:1. Silent Study of Each Phrase

a. Set the metronome at the prescribed tempo.

b. In silence and without “conducting”, try to “hear” each phrase incorporat-ing all you have discovered and imagined. Close your eyes and try to “see” as well as “hear” the score. Repeat this with each phrase as needed until you are comfortable.

c. Begin stringing together several phrases at once. When you come upon a “blank” spot in your “hearing”, extract that particular moment and practice it slowly until you can “hear” and “see” it.

d. Avoid “defensive” study. More specifically, do not “hear” your group play-ing the piece. This will only lead to doubt and anxiety (“How in the world will I ever get them to play that?!”). When internalizing a score, “hear” only the world’s best players playing the piece. This will help you to create an “ideal” sound in your mind.

e. Go through the entire piece in the manner described above.

2. Silent Run-ThroughsAfter having gone through the entire piece in the manner above:

a. Set the metronome at the prescribed tempo.

b. Try to make it through the entire piece while “hearing” and “seeing” it in a clear and specific manner. Remember to spend extra time with any modula-



tions, transitions, or bridge materials. Having all of the printed transitions in-ternalized is vital.

c. Repeat the above until comfortable.

Additional Comments Regarding This Study Process

1. This process, while certainly very effective, is time consuming. Don’t wait to start studying. You can never be too prepared for a rehearsal.

2. Create a Study Log. In it, keep track of where you are in the process of studying each piece you are preparing on a daily basis.

3. As tempting as it may be, do not listen to a recording of the piece until you have completed ALL of the steps above. Studying a piece in silence is the only way to im-prove your inner “ear”, and young conductors can not help but be directly or indi-rectly influenced by listening to a recording before completing the entire process above.

4. However, once you have completed the steps above, find as many different recordings of the piece as you can, and listen to them intently while looking at the score. If a particular conductor does something that you find interesting and effec-tive on a recording, use it.

5. In the beginning, it is very difficult to “hear” everything in the score. Don’t give up! No one “hears” everything at first.

6. Your first rehearsal of the piece with your group is your first performance of the piece. Be prepared.

7. If you have properly prepared in the manner above, creating daily lesson plans, musical goals, and technical goals for your group will be much easier. This happens because you now have an “ideal” performance of the piece burned into your mind and body, and all that is needed is to compare the actual, real life sound of your group to the “ideal”.

8. Will the players in your group ever be able to recreate the “ideal” sound you have imagined and internalized? No, not likely. But your group will never even be able to come close to that imagined sound if it is not firmly embedded inside you. Our goal as a conductor and teacher is to guide the real, actual sound of your group within



sight of the “ideal”. Get familiar and comfortable with the frustration and solitude; It is a part of the life we have chosen.

In the end, it all basically comes down to this:

WHAT ARE YOU WILLING TO DO?

¥ Are you willing to not be liked?

¥ Are you willing to look silly?

¥ Are you willing to show what you feel?

¥ Are you willing to admit failure?

¥ Are you willing to make time to study and prepare?

¥ Are you willing to be a life-long stu-dent?



· Are you willing to look at your weak-nesses honestly and your strengths

humbly?

Thomas McCauley is currently the Director of University Bands in the John J. Cali School of Music at Montclair State University in New Jersey where he conducts the Montclair State University Wind Symphony and Symphonic Band, and teaches both graduate and undergraduate conducting. He has held similar positions in the states of In-diana, Ohio, and Illinois in addition to teaching high school instrumental music in Nevada for nine years. Composers including Karel Husa, David Gillingham, Joseph Tur-rin, Bruce Yurko, Robert Aldridge, Morten Lauridsen and O’Neal Douglas have praised his work. In December of 2010, Dr. McCauley appeared as a clinician in Chicago at the 64th annual Midwest Clinic. Each November, he hosts and teaches a symposium at Mont-clair State University called the Weekend Wind Conducting Symposium with special guest clinicians and participants from around the world.

Dr. McCauley is in demand as a guest conductor, clinician, and adjudicator throughout North America. Ensembles under McCauley’s direction have appeared at national and re-gional conventions and conferences, and he has collaborated with artists including The Imani Winds, The Manhattan Brass Quintet, Warren Vache’, Demondrae Thurman, and Phil Smith.

Dr. McCauley has been published in The Instrumentalist magazine, several state music magazines, and in the second edition of Teaching Music Through Performance in Band, Vol I published by G.I.A. publications. In 1995, the Nevada Music Educator’s Associa-tion named Dr. McCauley Music Educator of the Year and in 2006, the Indiana Music Educators Association honored Dr. McCauley with an Outstanding University Music Ed-ucator Award. Dr, McCauley’s book titled, Adventures in Band Building (or How to Turn a Less-Than-It-Could-Be into a More-Than-It-Should-Be) is published by G.I.A. Publications. He currently serves on the Executive Board of the New Jersey Band Associ-ation, the New Jersey State Representative of the College Band Directors National Asso-ciation, and is the former New Jersey State Representative of the National Band Associa-tion. He is also an active member of the World Association for Symphonic Bands and Ensembles, and the National Association for Music Education


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