Khairunnisa binti Johari

Ernie Juan Prima bin NordinD20081032423

Banchakorn SombonD20081032417

ALTERNATIVE REHEARSAL

TECHNIQUES

USING CIRCLE OF 4ths….Bb instruments:Eb instruments:F instruments:

C(non transposing)

C F Bb

Eb Ab Db

Gb

Cb E A D G

G C F Bb Eb Ab Db Gb Cb E A D

F Bb Eb Ab Db Gb Cb E A D G C

Bb Eb Ab Db Gb Cb E A D G C F

3 Steps to Balance,Blend, and Intonation…

To immediately improve the tone quality of your band, respond to the following steps:

1) If you hear yourself above all others in your section or band, YOU ARE OVERPOWERING OR OVERBLOWING. Make the necessary adjustment with volume. This initiates an auditory response to BALANCE.

2) If you still hear yourself and you made the volume adjustment..YOU ARE PLAYING WITH POOR TONE QUALITY. Make the necessary adjustment with embouchure, breath support, and posture. This physical reaction to tone production initiates an auditory response to BLEND. Poor tone quality will not blend with your section or band.

3) If you still hear yourself and you made the adjustment with Balance and Blend..YOU ARE PLAYING OUT OF TUNE. Adjust the length of your instrument. This last step initiates an auditory response to BEATLESS TUNING. You are now ready to apply the tuning procedures.

6 Step Beatless Tuning Process The principal (1st chair) player of a

section is responsible for the intonation of the section. Therefore, all principal players are responsible for the intonation of the band and its pitch center! If you are the section player, it is your responsibility to play in tune with your principal player and section. The steps outlined below will immediately improve the tone quality and intonation of your band.

The designated tuning pitch is played by your section leader or principal player.

1)As you play the pitch, listen for the “beats”(2 or more pitches not sounding the same frequency).make an adjustment with the barrel, mouthpiece or slides.. Did the “beats” speed up or slow down?

2)If the “beats” are faster..you made the wrong move with barrel, mouthpiece or slide. Adjust the length of the instrument in the opposite direction.

3)If the “beats” became slower..you are making the correct move. Continue in this direction until all “beats” are eliminated.

4)If you find yourself “pinching” your embouchure to eliminate “beats”..your instruments is too long, it must be shortened.

5)If you find yourself “relaxing” your embouchure to eliminate “beats”..your instruments is too short, it must be lengthened.

6) When you and your section play the same pitch, without any unnecessary embouchure pressure or relaxtion, and not able to identify any “individual sound” in your section..You and your section are perfectly in tune and playing with proper balance and blend!

Basic Duration Exercise.The exercise are not to be conducted or

associated with any type of musical notation. Foot tapping is discouraged as is any type of

percussive sound to maintain pulse. Sustain pitch through to the given number.Do not allow sound to continue beyond.

(This is important in developing uniformity with ensemble entrance and release).

The priority is not to rely upon you director maintaining the pulse but to develop a silent-controlled - accurate internal ensemble counting procedure.

Director will only count for the first 2 or 3 pitches at which time the entire band will continue.

This is the most effective instructional procedure to unify and synchronise your pulse with other band member.

Example: in Bb concert circle of fourth

C F Bb Eb Ab Db GbCb…………1234 1234 1234 1234 1234 1234 1234 1234

Every each notes sustain to 4 beat and proceed to the next pitch. Tempo 54 - 60

It can be do for sustain to 5,6,7,9,11,13. Longer duration extend your concentration power/focus but should not be attempted until the band members can sense and feel accuracy of 4, 5, 6 and 7 exercises.

Measurement of sound and silenceThe following exercise are used briefly at the

beginning of a rehearsal to focused controlled pulse during silence.

This controlled silence will determine the ensemble accuracy with an entrance.

Any unnecessary room noise or movement disturbs the intense though process for sound and silence exercise.

Do not continue if this occurs.

Example:C F Bb EbAb1234 R 2 3 1234 R 2 31234 R 2 3 1234 R 2 3……**every note SOUND in sustain 4 beat and rest (R) 3 beat before go to the next notes.**This for duration with 3 count of silence.

Continue with duration with 4,5, and 6 counts of silent.

To avoid monotonous create your own number combination. Tempo 54-60

GroupingThis grouping assignment provide a variety of

approaches and sound color for the exercises used throughout this method.

The group determined by the part you play in band.Have been divided into woodwind, brass, and

percussion choir so they may be applied in sectinal rehearsal group or group lesson settings.

The percussion assignment encourage only keyboard instrument and timpani with softest mallet available. (to emphasize and rely upon the internal ensemble pulse instead of the rhythmic pulse of percussion)

Middle School & High School BandWoodwind Choir

Brass Choir

Group 1 Group 2 Group 3 Group 4

Piccolo Eb Clarinet1 & 2 Oboe1st Flute1st Clarinet1st Alto Sax

2nd Flute2nd Clarinet2nd Alto Sax

3rd ClarinetAlto ClarinetTenor Sax

Bass Clarinet1st & 2nd BassoonsBari. SaxContraClarinets

Group 1 Group 2 Group 3 Group 4

1st Cornet1st Trumpet1st French Horn1st Trombone

2nd Cornet2nd Trumpet2nd Trombone

3rd Cornet2nd Trumpet3rd Trombone3rd & 4th French Horn

Baritone/ EuphoniumTubaString Bass

Percussion Choir

….suggested group assignment. But, adjustment are determined by band instrumentation and size

Vibraphone(soft mallets)

Xylophone(soft

mallets)

Marimba(soft

mallets)

Tympani

Elementary School BandWoodwind Choir

Brass Choir

Percussion**if available, percussionist play vibraphone, xylophone or bells with

soft mallet using Group 1. If instrument not available, play basic rhythm pattern or rolls on soft rubber pad.

Group 1 Group 2 Group 3 Group 4

OboeFlute (piccolo)Clarinet

2nd Flute2nd Clarinet

3rd ClarinetAlto SaxTenor Sax

Bass ClarinetBassoonsBaritone Sax

Group 1 Group 2 Group 3 Group 4

1st Trumpet1st French Horn

2nd Trumpet3rd Trumpet

Trombones2nd French Horn

Baritone SaxTuba

Full Band Tuning ProcessThis group provide you with the opportunity

to tune ‘beatless’ octaves, unisons and fifth upon the volume of fundamental Group 4 (high pitched instruments cannot pass the sound of low pitched instruments)

Sustain each pitch (no pulse – length indicated by director) and respond to the sequence – 3 steps

For improved listening – close eyes and visualize straight line of sound (beatless) supported by a full, sonorous tone quality.

Group

1 - C – F - Bb – Eb – Ab – Db – Gb – Cb – E – A – D – G

2 - G – C – F – Bb – Eb – Ab – Db – Gb – B – E – A – D

3 - G – C – F – Bb – Eb – Ab – Db – Gb – B – E – A – D

4 - C – F – Bb– Eb – Ab – Db – Gb – Cb – E – A – D – G

**for transposing instrument they need to transpose the note first.

Duration Exercise With Grouping and Choir Assignment-Warm UP

Open 5ths Group AssignmentGroup 1 & 2 G C F Bb Eb Ab

12345 12345 12345 12345 12345 12345

Group 3 &4 C F Bb Eb Ab Db(All tempo 54 -60)

Major 3rds Group AssignmentGroup 1 & 2E A D G

1234567 1234567 1234567123..

Group 3 & 4C F BbEb

Open 5ths Choir AssignmentWoodwind G C F BbMallet Perc. 12345 R 2 3 12345 R 2 312345 R 2

3 …….Brass Choir C F Bb Eb

Major 3rds Choir Assignment Woodwind E A D GMallet perc. 12345 R 2 312345 R 2 3

12345 R 2 3 …..Brass Choir C F Bb Eb

**Close your eyes and with your “mind eye”, look at the total band sound from the bottom (tuba) to the top (piccolo). Adjust your volume and project a full sonorous sound to balance and blend with the band sound you “see”.

Major Chord Grouping For All Duration Exercises

The variation with voicing (roots, 3rd, 5th ) provides your band with many listening options to develop balanced, blend and intonation.

The starting pitch assignment allows the band to play ALL major chord.

You will develop a better understanding for the harmonic progressions used in your band music.

Major Chord with Tonic in Group 1Group 1 C F Bb Eb Ab Db(tonic) 12345 12345 12345 12345

12345 12345Group 2(3rd) E A D G C FGroup 3(5th) G C F Bb Eb AbGroup 4 C F Bb Eb Ab Db(root)

**continue with major chord with 3rd in Group 1 (plus with rest) and major chords with 5th in Group 1.

(All tempo 54 -60)

Minor & 7th Tone Chords Grouping for all Duration Exercises

The assignment provides additional opportunities tofurther develop ensemble balanced, blend, and

intonation. (All tempo 54 -60)

Minor Chord (flat 3 in Group 1)Group 1(b3) Eb Ab Db Gb Cb FbGroup 2(T) C F Bb Eb Ab DbGroup 3(5th) G C F Bb Eb AbGroup 4 C F Bb Eb Ab Db(root) 12345 12345 12345 12345

12345 12345

Dominant 7th Chord (flat 7 in Group 1)Group 1(b7) Bb Eb Ab DbGroup 2(3rd) E A D GGroup 3(5th) G C F BbGroup 4 C F Bb Eb(root) 12345 R 2 312345 R 2 312345

R 2 3 …..

**continue with major 7th chord (natural 7 in Group 1)

**Close your eyes and with your “mind eye”, look at the total band sound from the bottom (tuba) to the top (piccolo). Adjust your volume and project a full sonorous sound to balance and blend with the band sound you “see”.