RUNNING HEAD: Rehearsal Techniques REHEARSAL …

Rehearsal Techniques 1

RUNNING HEAD: Rehearsal Techniques

REHEARSAL TECHNIQUES AND AUDITION PREPARATION

By

ELIZABETH ALEXANDRIA OBICO

“XANDRIA”

Submitted to

Professional Education Faculty

Northwest Missouri State University

Department of Professional Education

College of Education and Human Services

Maryville, MO 64468

Spring 2014

07-28-15


ABSTRACT

This research is based on A high school band program throughout the 2014-15 school year.

Students were taught new practice methods in class and encouraged to use these methods in their

own practice sessions and in private lessons. Throughout the school year, a record was kept to

determine the success of the students who auditioned for district band, participated in honor

bands, and participated in solo contest based on their practice time. The goal of this research is to

prove that rehearsal time and technique taught in the classroom play an important role in the

success of an instrumental musician. New routines and techniques were taught in class and

practiced daily at school and at home. Students who spent more time practicing the methods

taught in the classroom were more successful when auditioning for honor bands whether or not

they also participated in private lessons.


INTRODUCTION

Background, Issues and Concerns

When students join band, they are expected to turn in practice records to prove that they

are practicing their instrument outside of school. Many of these students have never played an

instrument in an instrumental class setting before. In many cases, it is assumed that the student

knows how to practice their instrument already. There is also the issue of whether or not the

practice card form is a trustworthy practice record. A second issue is the question of favoritism.

Some believe that students are placed in higher chairs or are given better grades because of the

teacher’s opinion of the student. The following study demonstrated how practice time and

techniques affect the outcome of the student’s success in auditioned ensembles and individual

performances. This will prepare the students for a better band experience, future playing tests,

and auditions.

Practice under Investigation

The practice under investigation demonstrated how specific practice techniques that were

being taught in the classroom to better prepare students for auditions. This includes teaching

scales and arpeggios, changing rhythms, developing tone and counting correct rhythms.

Practicing strategies are more commonly taught in private lessons outside of the classroom for

individuals rather than the director in a regular classroom setting. This investigation discovered

whether a correlation existed between practice preparation and audition results. This result will

be compared to the correlation between practice time using the new classroom technique and

audition and performance results.


School Policy to be Informed by Study

There are high expectations for instrumental auditions. The knowledge and preparation

required to have a successful audition should be taught and practiced by all students in the

classroom. This includes playing tests or chair auditions, ensemble auditions and solo auditions.

This would not only improve the individual students, but improve the performance of the

ensemble as one.

Conceptual Underpinning

More exposure to “mock” auditions will allow the students to be more prepared for actual

auditions and performances in the future. The more opportunities the students have to practice

this technique in a real life situation, the better prepared they will be for an actual audition in

their future. Unlike practicing for the test, the students will use new material, overcome the fear

of stage presence and continue to develop musicianship. These characteristics can be compared

to learning how to be a better public speaker.

Statement of the Problem

The problem is how to increase student achievement in music for musicians of all ability

levels. If more students have improved audition results, the schools should incorporate this

practice into their curriculum. These techniques could potentially help students prepare for other

scenarios similar to auditions such as interviews, public speaking opportunities or other contests.

This could also play a role in preparing for school exams.


Purpose of the Study

The purpose of this study is to find a significant connection between practice times and

methods, and better results in auditions. The results in this study will inform the directors of how

the students to prepare for auditions during class time teach and how to practice. This could

potentially improve the individual student’s success and the entire ensemble’s success.

Research Questions

RQ#1: Is there a relationship between student learning of proper practice methods and

their performance in auditions?

RQ#2: Is there a relationship between participating in mock auditions and the student

level of preparation for musical performance?

Null Hypotheses

Ho#1: There is no relationship between student learning of proper practice methods and

their performance in auditions.

Ho#2: There is no relationship between participating in mock auditions and the student

level of preparation for musical performance.

Anticipated Benefits of the Study

If there is a significant connection between practice methods and high performance

achievement, teachers will be able to use these methods to improve student achievement in the

music classroom and potentially other subject areas.


Definition of Terms

Auditions - A selection process decided by ability level and talent.

Practice Time - The time spent rehearsing outside of the classroom.

Honor Bands - These are auditioned ensembles.

Summary

A study was conducted to decide if teaching practice techniques in the classroom in

addition to more required practice time would result in better preparation for auditions. After the

study is complete, the school is encouraged to decide on any changes to the curriculum to better

prepare the students for musical and nonmusical auditions. Students were taught how to practice

rather than being told to practice and expecting the students to play the same part repeatedly until

they believed they understood it. Mock auditions allowed the students to experience an audition

before participating in a real one. This also allowed the director to guide the student to be better

prepared. Outstanding mock auditions were also performed in front of the class as if it were a

master class to demonstrate a successful audition.


REVIEW OF LITERATURE

Music is a universal language that is understood throughout the entire world. Lyrics may

be foreign to one’s ear, but the emotion expressed in a song connects with those who are

listening. Middle school and high school students have the opportunity to participate in musical

ensembles in school, specifically band or instrumental music. Those participating in band are

given the possibility to learn how to perform on an instrument. These students are able to

express themselves through music individually and in an ensemble setting. Band class teaches

students the basics in how to make music on their specific instrument. However, the amount of

practice time and the method of practice affects how a developing musician will advance in their

musical career.

Beginning band students first learn how to assemble instruments, form an embouchure

and make a sound on their horn. They quickly learn the fingerings to three to five notes and

begin playing music by reading music notation and matching fingerings to the respective notes

on the staff. As students advance, practicing become even more important. This is a habit that

needs to develop early and become part of a daily routine outside of school (Spitzer, 2014).

Many excuses may include:

“But I play every day in school” (That‘s not practicing, and it’s not enough to help you

really improve.)

“I already play better than anyone else in school” (You should try to be the best player

that you can be. It’s not about comparing yourself to others. Besides, if you goof off,

pretty soon you won’t be the best anymore.)

“I’ve already learned my assignment” (So...give yourself a new assignment! Remember,

you are your own best teacher.)


“It’s boring” (This indicates the need for a better attitude. Learning is fun, music is fun,

and being good at something is fun.)

“I don’t have time” (Really? You can’t find 20 minutes a few times a week? If you truly

are too busy, though, just make sure that you make up for it the following week.)

“I don’t know how it goes” (Ask a parent, or an older sibling, or find a recording. If you

somehow can’t do that, then practice other things, and ask your teacher to demonstrate it

at the next lesson.)

“I’m taking lessons, so I don’t need to practice” (That’s not the way it works. Your

teacher is not there to babysit one day a week of practicing. He or she is there to give you

the tools so that you can be your own best teacher.) (Spitzer, 2014, P.1).

In an instrumental class, students are learning how to read notes, rhythms, tonguing,

slurring, breathing, phrasing and how to read and perform many other musical symbols. A

typical band class includes students who need to learn how to read both bass clef and treble clef.

Percussionists are learning more advanced rhythms than wind players. Wind players are learning

how to breath while percussionists patiently wait for instructions pertaining to their own

instruments. In some cases these instrument groups are split up into different classes with like

instruments for example, brass players, woodwinds and percussionists are in three separate

classes. However, in most smaller schools this is not the case (Spitzer, 2014).

Band directors use many different teaching methods to help students advance on their

instrument of choice. It is unlikely that many beginning band students are taking private lessons

at this point in their musical career. The Breathing Gym is a great breathing exercise to help

wind players learn how to control their breathing as they are performing. “The Breathing Gym


consists of five types of exercises: Stretching, Flow Studies, Therapies, Strength and Flexibility

and Breathing for the Brain” (Pilafian & Sheridan, 2014). It is normal for students to feel out of

breath or lightheadedness when first learning an instrument. Over time, students learn how to

control their breathing and their playing improves. Better air support also improves tone, or the

sound of their instrument.

As students advance on their instruments, they need to learn how to practice at home on

their own without a teacher there to guide them. Other practice techniques that can be used in the

classroom and carried over into a personal practice session include: slowing it down, the “add a

note” technique, the “fingers only” technique, over train, play it backwards, change the octave,

sing it, rhythm only, buzz it, and combining these different techniques (How to practice, 2013).

The slowing it down technique may require the use of a metronome, a device used to

keep a steady beat. Slowing a difficult passage down and then gradually speeding it up to the

desired tempo often helps. Adding a note to a technical passage is another great option. If there

are six notes, try playing only the first three, and then four, and then five until you are finally

able to perform all six notes. The fingers only technique allows all of the energy to focus on

notes and fingerings alone before playing it again. Over training is going beyond slowing it

down. First slow down to a doable tempo but do not stop when you reach the suggested tempo.

Instead, continue to a faster tempo to better prepare the difficult passage. Playing a passage

backwards is unconventional but does work. Changing octaves is exactly as it is stated. Playing a

passage in a higher or lower octave may be easier. This allows the musician to have a better idea

of what the passage should sound like before going back to the original passage. Singing is also a

great technique to help with intonation and tone quality. Rhythm only allows the performer to

put the instrument down and think through the difficult passage by clapping the rhythm rather


than paying it. Buzzing the passage is a technique for only those who play a brass instrument.

Buzzing the passage through the mouthpiece only allows the performer to focus on rhythm. As

stated above, a combination of any of these practice techniques is recommended. These

techniques are encouraged in the classroom and during individual practice sessions (How to

practice, 2013).

Practicing on a daily basis is a great habit to begin at a young age. The suggested amount

of practice time for a young musician is about twenty minutes a day every day of the week. This

number should increase as the student become more advanced. Students develop a routine and

begin improving on their own in addition to the classroom. Students begin to take pride in their

work and strive for perfection while rehearsing individually and in the classroom. The more

students practice, the better they become and the more they enjoy what they are doing. Practice

time is how students improve and study for band (Estrella, 2014).

Using practice techniques during band class teaches the students different ways to

practice at home on their own. As students advance, they are encouraged to begin taking private

lessons. However, private lessons are an additional cost to participating in the school band

program. In some cases, students have to travel longer distances to find a suitable private lessons

teacher for their specific instrument. Sometimes private lessons are not an option for all students

(Spitzer, 2014).

As students advance to more difficult music, more opportunities are presented to them.

Some of these opportunities include auditioning for honor bands, performing solos or performing

in small ensembles. A common honor band is the all-district band. Some districts have honor

bands for both high school and middle school ages. Students are given specific material to


prepare for auditions. This is above and beyond classroom expectations (Goodwin, &

Copenhaver, 2005).

In Missouri, the all-district band is a preliminary audition for the Missouri All-State

Band. The audition material is alike throughout the entire state. The music is frequently used for

other local honor bands as well. Preparing major and melodic minor scales is a requirement of

the audition. Although scales are frequently found in music, it is important to learn and

memorize major and minor scales (Goodwin, & Copenhaver, 2005).

Ann Goodwin and Paul Copenhaver created a list of tips to help musicians prepare for the

audition.

I. Preparing the Scales – the ‘backbone’ of your audition!

(Scales are never requested in “concert pitch”. Ex. A Bb scales begins on your Bb.)

A. Play at indicated speed; = 88 (in sixteenth notes)

1. Faster is NOT better; better is better!

2. Establish a sense of pulse – Use a metronome as your practice

3. Make sure each note ‘speaks’ – don’t let it all be a ‘blur’

B. Play with good characteristic tone throughout full range of instrument

(Make sure that you play all scales the required number of octaves for your

instrument)

C. Prepare scales both tongued and slurred

D. Learn major/minor scales in relative pairs, so that key relationships become

familiar

E. Use a ‘flash card’ system to quiz yourself; don’t always practice scales in the

same order (Goodwin, & Copenhaver, 2005).


Another portion of preparing for the all-state band auditions include an unaccompanied

solo. This is also great practice for when the student decided to prepare a solo for music contest

in the future. Technique and musicianship are two key components in an audition. Technique

includes proper notes, rhythms and articulations. Articulation is the way in which a note is

played for example, tonguing, slurring or accenting a note. Musicianship includes tempo,

dynamics, phrasing and overall performance of the song (Goodwin, & Copenhaver, 2005).

There may come a time when a student is ready to upgrade their instrument for a better

model. Much like vehicles, there are many different models of instruments. Student models are

cheaper and are great for learning how to play an instrument. As a student progresses to a

professional level instrument, many music stores have great options for step up instruments to fit

your budget. Other options may be purchasing a new head joint or mouthpiece instead on an

entirely new instrument. It is very important the students and parents never buy new equipment

without the teacher or a trusted listener hearing you first (Walker, 2014).

Becoming a musician does not necessarily make someone smarter. However, the

discipline required to become a great musician does advance a person’s ability to perform in

other subject areas. There is also a great satisfaction in preparing and performing a piece of

music. This quality cannot be taught, but is learned through their musical experience. Perhaps if

other subject areas required the same discipline and satisfaction after completing a goal, students

would have better results in all subject areas in school (Brown, 2012).


RESEARCH METHODS

Research Design

A questionnaire was given to the students to collect data about whether or not they

accomplished their goal after participating in an audition and if they received any lessons during

their preparation. They were also asked how many hours of practice time they recorded each day

of the week. This was also recorded on a practice card that was signed by their parents. A record

was kept throughout the school year to track the student's musical achievements. These results

were entered into a chi-square analysis to determine the results. The same groups of students

auditioned in each of the musical opportunities. Two of the students were in regularly scheduled

weekly lessons while the remaining students depended primarily on independent practice and

classroom instruction. All auditions were over the same material for each instrument.

Study Group Description

A form was passed out to all of the students who participated in any type of audition

process. They recorded their results for each auditioned ensemble and music contest. The free

and reduced lunch for this school is 45.7%. The ethnicity is 1.9% hispanic, 0.8% asian, 0.6%

black, 0.5% indian, 0.5% pacific islander, 95.7% white. The study group was split evenly, 50%

female and 50% male.

Data Collection and Instrumentation

Students will be expected to accurately describe their experience and preparation for the audition

on the form. Directors will also be expected to report their class activities that prepared students

for their auditions. The form can be found in Appendix A.


Statistical Analysis Methods

Below is a chi-square analysis on the surveys to determine if practice techniques used in the

classroom will benefit students auditioning for honor bands such as the district band.


FINDINGS

The frequency plots organized the data to display the outcome of the student auditions

and practice times. The auditioned ensembles include: The All-District Band, four different

regional bands, practice hours and solo contest. All performances are adjudicated on the same

level of expectations set by the Missouri State High School Activities Association (MSHSAA).

All-district band auditions are blind unlike the other audition requirements for the remaining four

honor bands. Solo contest is an individual performance prepared by the student and accompanied

by a piano. Again, the same MSHSAA guidelines are followed in this performance. All students

that participated in any auditions also participated in two mock auditions prior to auditioning for

any of the honor bands. These students were also enrolled in the same class.

The practice under investigation proved to be successful. Students who practiced using

classroom taught techniques such as scales and arpeggios, changing rhythms, developing tone

and counting correct rhythms had better results in their auditions. Students taking private lessons

were also successful in their auditions.

Students who participated in “mock” auditions also had better results than those students

who did not participate in the “mock” auditions. These students rehearsed a live audition in front

of the class to prepare them for the actual audition process.


FREQUENCY PLOTS

VARIABLE: District Band

FRQ. CUM. % CUM. FREQUENCY PLOT

---- ---- ----- ----- -------------------------

x < 1 0 0 0 0 |

x = 1 6 6 42.9 42.9 |******************

x = 2 8 14 57.1 100 |************************

x > 2 0 14 0 100 |

TOTAL 14 100

Key for plot #1 = Made District Band #2 = Did NOT Make District Band

Total Respondents = 14

Narrative:

A total of 14 students out of a class of 21 students (67%) auditioned for the Northwest

All-District Band. Of the 14 students, six students, 42.9 % were selected into the

ensemble and eight students, 57.1 % were not accepted.


VARIABLE: Practice Hours


---- ---- ----- ----- -------------------------

x < 1 0 0 0 0 |

x = 1 2 2 14.3 14.3 |*******

x = 2 7 9 50 64.3 |************************

x = 3 3 12 21.4 85.7 |**********

x = 4 2 14 14.3 100 |*******

x > 4 0 14 0 100 |

TOTAL 14 100

Key for plot #1 = Practiced less than 1 hour #2 = Practiced 1-2 Hours

#3 = Practiced 2-3 Hours #4 = Practiced more than 3 Hours


Narrative:

A total of two students, 14.3 % practiced less than one hour. A total of seven students,

50% practiced a total of 1-2 hours. A total of three students, 21.4 % practiced 2-3 hours. A total

of two students, 14.3 % practiced a total more than three hours per day. 100% of the students

who practiced more than three hours a day made the all-district band.


VARIABLE: Honor Bands


---- ---- ----- ----- -------------------------

x < 1 0 0 0 0 |

x = 1 8 8 57.1 57.1 |************************

x = 2 4 12 28.6 85.7 |************

x = 3 2 14 14.3 100 |******

x > 3 0 14 0 100 |

TOTAL 14 100

Key for plot #1 = Participated in 1 Honor Band

#2 = Participated in 3 Honor Bands

#3 = Participated in 4 Honor Bands


Narrative:

Eight students, 57.1% participated in only one honor band. Four students, 28.6 %

participated in three honor bands. Two students, 14.3 % participated in four honor bands.


VARIABLE: Mock Auditions


---- ---- ----- ----- -------------------------

x < 1 0 0 0 0 ¦

x = 1 6 6 42.9 42.9 ¦******************

x = 2 8 14 57.1 100 ¦************************

x > 2 0 14 0 100 ¦

TOTAL 14 100

Key for plot #1 = Participated in the mock audition

#2 = Did not participate in the mock audition


Narrative:

Six students, 42.9% participated in a mock audition. Eight students, 57.1% did not participate in

a mock audition.


RQ#1

Is there a relationship between student learning of proper practice methods and their performance

in auditions?

Source Made District

Band

Did Not

Make District

Band

Chi-Sq df p-value

1 hour 0% (0) 25% (2)

2 hours 33.3% (2) 62.5% (5)

3 hours 33.3% (2) 12.5% (1)

4 hours 33.3% (2) 0% (0) 5.5 1 0.142

Sign = or < 0.25

The p-value is 0.142 The alpha level is 0.25.

The null hypothesis is there is no relationship between student learning of proper practice

methods and their performance in auditions.

The conclusion is that we will reject the null hypothesis - there is a significant relationship

between student learning of proper practice methods and their performance in auditions.

Narrative:

Zero students, 0%, practiced for one hour and were selected to perform in the district band. Two

students, 25% practiced for hour and were selected to perform in the district band. Two students,

33.3%, practiced for two hours and were selected to perform in the district band. Five students,

62.5% practiced for two hours and were not selected to perform in the district band. Two

students, 33.3%, practiced for three hours and were selected to perform in the district band. One

student, 12.5%, practiced for three hours and was not selected to perform in the district band.

Two students, 33.3%m practiced for four hours and were selected to perform in the district band.

Zero students, 0%, practiced for four hours and were not selected to perform in the district band.


The null hypothesis was: “There is no relationship between student learning of proper practice

methods and their performance in auditions.” The p-value of 0.142 is less than the alpha level of

0.25, therefore the null hypothesis is rejected. There is a significant difference between the

amount of practiced hours and being selected to perform in the district band.

RQ#2

Is there a relationship between participating in mock auditions and the student level of

preparation for musical performance?

Source Made District

Band

Did Not

Make District

Band

Chi-Sq df p-value

Mock

Audition

83.3% (5) 12.5% (1)

No Mock

Audition

16.7% (1) 87.5% (7) 7.024 1 0.008

Sign = or < 0.25

The p-value is 0.008 The alpha level is 0.25.

The null hypothesis is there is no relationship between participating in mock auditions and the

student level of preparation for musical performance.

The conclusion is the we will reject the null hypothesis - there is a great difference between

participating in a mock audition and being selected to participate in the district band.

Narrative:

Five students, 83.3%, participated in a mock audition and were selected to perform in the district

band. One student, 12.5%, participated in a mock audition and was not selected to perform in the


district band. One student, 16.7%, did not participate in a mock audition and was selected to

participate in the district band. Seven students, 87.5%, did not participate in a mock audition and

was not selected to participate in the district band.

The null hypothesis was: “There is no relationship between participating in mock auditions and

the student level of preparation for musical performance.” The p-value of 0.008 is less than the

alpha level of 0.25, therefore the null hypothesis is rejected. There is a significant difference

between participating in mock auditions and getting selected to perform in the district band.


CONCLUSIONS AND RECOMMENDATIONS

Based on the conclusion of this research, it is proven that students who practice more

frequently, at least 1-2 hours a day are more successful in extracurricular music activities. The

chi-square statistical analysis showed that students who practice more than one hour a day are

more likely to be selected into an auditioned ensemble. Practice technique also plays a key role

in the success of the student. Teaching practice and rehearsal techniques in the classroom is a

great method for personal guided practice. Although private lessons are highly recommended,

this is a great alternative for those students who are unable to pay for a private instructor.

Solo contest is a great opportunity for students to be judged against themselves rather

than competing against others. All of the students who advanced to the state level earned a 1

rating at contest. Of those six students, only one of them studied privately with an instructor. The

other five students used rehearsal techniques and practice time from classroom instruction.

Teaching students how to practice is more important that what to practice. When students

use their practice time effectively, they are more successful in their performances. This is a great

method that can also be used in other subject areas in school. Music is a proven subject to teach

discipline and is highly recommended after the completion of this research project.


REFERENCES

Brown, L. L. (2012). The benefits of music education. Retrieved March 18, 2015, from PBS

Parents website: http://www.pbs.org/parents/education/music-arts/the-benefits-

of-music-education/

Estrella, E. (2014). 11 tips for practice time. Retrieved March 16, 2014, from

http://musiced.about.com/od/adviceformusicians/tp/practicetime.htm

Goodwin, A., & Copenhaver, P. (2005, November 14). Successful All-State Band Auditions -

Preparation Outline. Retrieved February 16, 2014, from http://

www.palenmusic.com/qnissues/20051114.htm

How to practice. (2013). Retrieved March 1, 2014, from Point Loma High School Instrumental

Music Department website: http://www.plhsmusic.com/current-students/how-to-practice

Pilafian, S., & Sheridan, P. (n.d.). Breathing Gym. Retrieved February 16, 2014, from

http://www.brianshook.com/resources/Breathing-Gym-Clinic.pdf

Spitzer, P. (2014). How to practice a musical instrument. Retrieved March 31, 2014, from

http://www.hopestreetmusicstudios.com/articles/how-to-practice-a-musical-instrument

Walker, J. (n.d.). General advice for flutists. Retrieved March 31, 2014, from

http://www.jimwalkerflute.com/advice-for-flutists-flute-tips.html

http://www.pbs.org/parents/education/music-arts/

http://musiced.about.com/od/adviceformusicians/tp/practicetime.htm

http://www.palenmusic.com/qnissues/20051114.htm



http://www.plhsmusic.com/current-students/how-to-practice

http://www.plhsmusic.com/current-students/how-to-practice

http://www.brianshook.com/resources/Breathing-Gym-Clinic.pdf

http://www.hopestreetmusicstudios.com/articles/how-to-practice-a-musical-instrument

http://www.jimwalkerflute.com/advice-for-flutists-flute-tips.html


APPENDIX A

Practice Techniques

Student ID

________

Do you take private lessons?

○ YES

○ NO

Do you participate in any outside of school music activities?

○ YES

○ NO

How many hours a day do you practice?

Please also submit your signed practice card.

○ less than an hour

○ 1-2 hours

○ 2-3 hours

○ more than 3 hours

Were you a member of the all district honor band or concert band?

○ Honor Band

○ Concert Band

○ Did not make it

Were you a member of the all state band?


○ Yes

○ Alternate

○ Honorable Mention

○ No

Did you get a 1 or 2 rating at district contest?

Solo

○ 1 rating

○ 2 rating

○ Did not participate

Did you get a 1 or 2 rating at state contest?

Solo

○ 1 rating

○ 2 rating

○ Did not participate

How many honor bands did you participate in?

○ 0

○ 1

○ 2

○ 3

○ 4

GPA

________

Class Rank


________

Documents

RUNNING HEAD: Rehearsal Techniques REHEARSAL …