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A new dimension in teaching... thinking... practicing... and playing an instrument !
Edward S. Lisk, Clinician
Oswego, New York
The ART of Instrumental Music for The Creative Director
The ART of Instrumental Music for The Creative Director
Youngstown State UniversityDana School of Music
November 20-22, 2008
Part 1: "The Mastery of Music Fundamentals"
"The notes of a composition do not exist in isolation; the movement of harmonic progressions, melodic contours and
expressive colorations provide each interval with a specific sense of belonging and/or direction.".....Pablo Casals
Part 2: "The Mysterious World of In-Tune Playing"
“Composers utilize the overtone series as part of their harmonic language. If the music is performed out of tune or misunderstood, then the overtone series is destroyed, and the composer's intentions are not fulfilled.".....Robert Jager, Composer
Part 3: "Beyond the Page"
“The written note is like a strait jacket, whereas music, like life itself, is constant movement, continuous spontaneity,
free from any restrictions... There are so many excellent instrumentalists who are completely obsessed by the printed note, whereas it has a very limited power to express what the music actually means.”.....Pablo Casals
“What is best in music is not found in the notes.”
Gustav Mahler
"What is best in music is not found in the notes."
Gustave Mahler
"We are becoming slaves of little marks on a piece of white paper which we call music."
Leopold Stokowski
"The written note is like a strait jacket, whereas music, like life itself, is constant movement, continuous spontaneity, free from any restrictions...
There are so many excellent instrumentalists who are completely obsessed by the printed note, whereas it has a very limited power to express
what the music actually means."
Pablo Casals
"You must give each note life, your life... You must sacrifice, you must learn to give yourself to music... Then you will make it live... Then you will be able to make other people understand music."
Nadia Boulanger
"Technique is not music... Music is the thousandth of a millisecond between one note and another,
how you get from one to the other - that's where the music is."
Isaac Stern
"Music making begins in the mind, not in the stick."
Leonard Bernstein
About the Clinician.....Edward S. Lisk is an internationally recognized clinician, conductor, and author. He is a graduate of Syracuse University School of
Music with advanced studies at Ithaca School of Music, Syracuse University and Oswego State University. During his 21-year tenure at the Oswego City School District (’70-’91), the Oswego High School Wind Ensemble received notable acclaim with performances at national instrumental conferences and had the privilege of being conducted by most (31) of the nation’s prestigious conductors and composers.
Mr. Lisk was recently the 48th director to be inducted into the prestigious National Band Hall of Fame for Distinguished Conductors. This is considered to be the very highest honor any band director can ever receive in their lifetime. He joins the ranks of notable conductors such as John Philip Sousa, Edwin Franko Goldman, Frank Simon, Henry Fillmore, Col. Arnald Gabriel and Col. John R. Bourgeois, among many others. The National Band Hall of Fame for Distinguished Conductors is housed in a magnificent facility made available by Troy State University in Alabama. Mr. Lisk’s installation was February 2, 2008.
In addition to this notable recognition, the University of Alabama School of Music appointed Mr. Lisk to the distinguished Endowed Chair Position in Music Education for the 2007-08 school year. The appointment includes lectures dealing with the preparation of future music educators and their responsibilities in the changing world of education, rehearsals, teaching instrumental methods classes, and rehearsal techniques lectures based upon his Creative Director Series publications.
Mr. Lisk is an elected member of the American Bandmasters Association and in the year 2000, served as the 63rd President of this distinguished organization founded by Edwin Franko Goldman. He has an active guest-conducting schedule that includes all-state bands, honor bands, university, and professional bands including the U.S. Air Force Band, Australian Wind Symphony, U.S. Interservice Band, U.S. Army Field Band, U.S. Army Band "Pershing's Own", and recently the 175th Anniversary Concert of the Allentown Band, which featured several prominent conductors who had a significant impact on the band world during the past fifty years.
He is the author of The Creative Director Series (8 pub.) published by Meredith Music Publications and a co-author of the highly acclaimed 7-volume publication by GIA, entitled Teaching Music Through Performance in Band. He is the editor of the Edwin Franko Goldman March Series published by Carl Fischer Music. His editions of On The Mall, The ABA March, Bugles and Drums, and Onward-Upward March are currently available. Since 1985, Edward Lisk has served as an adjunct professor, clinician/lecturer, adjudicator, and guest conductor throughout 45 states, 5 Canadian Provinces and Australia. With emphasis upon rehearsal techniques and school band program design, he has made more than 500 presentations at state, national and international conferences, university graduate sessions, and workshops.
Mr. Lisk is an appointed member of the Midwest Clinic Board of Directors and serves the John Philip Sousa Foundation as Vice-president for Administration. He is a past-president of the National Band Association (’90-’92), and served NBA as Executive Secretary Treasurer (1997-2002). He holds membership in several professional associations and is an International Honorary Member of Phi Beta Mu.
I. Introducing the Circle of 4ths A. Expanding Musical Performance Vocabulary B. Transposition & Grouping Assignments 1. Chord Qualities, Composer Voicing, Melillo Function Chorales 2. Chord Progressions (I-IV-I, I-V7-I, I-IIm7-V7-I, & 7th tone chords)
II. Secret for Success: THE Grand Master Scale ! A. Why the Grand Master Scale ? 1. Breaking 'old scale habits' B. Scale Variations, Articulation C. Learning process for Scale Mastery
“Composers utilize the overtone series as part of their harmonic language. If the music is performed out of tune or misunderstood, then the overtone series is destroyed, and the composer's intentions are not fulfilled.".....Robert Jager, Composer III. The Mysterious World of In-Tune Playing A. Student Responsibilities for Balance, Blend, Intonation 1. 3 Steps to Balance, Blend and Intonation 2. Beatless Tuning Process B. Exercising Straight Line Tuning 1. 6 Step Tuning Process C. The Art of Tuning Overtones 1. Pitch is relative to fundamental 2. Tuning Unisons, Octaves, 5ths, 4ths 3. Maximize Sonority & Resonance D. Exercise Full Ensemble Listening 1. Full Band Tuning Process a. Unisons, Octaves, 5ths, 4ths -Group Assignments 2. Vertical and Horizontal Listening Skills a. Vertical = Just Tuning b. Horizontal = Equal Tempered Tuning (Grand Master Scale) "We can never exhaust the multiplicity of nuances and subtleties which make the charm of music...We tend to be
inhibited by the printed score with its scarcity of expressive markings."...Pablo Casals
VII. Artistic Expression...taking the 'risk'... looking beyond the unadorned markings of musical notation. A. The Search for Meaning (or, the “mystery” beyond the notes) B. How do we exercise “expressive” playing? 1. Filling the “gap” between mechanical and artistic performance C. Discovering nuance, inflection & feeling through rhythmic speech! 1. Word Prosody – Sentences, poetry, rhythms, questions, exclamation points, speech intonation D. Subtleties of 'musical thought' 1. Melodic line - horizontal flow & direction 2. Harmonic content - tension and resolution 3. "If you can't say it, you can't play it" a. Speaking rhythm patterns E. Energy and forward movement of “timed thinking:....Phrasing !! 1. Low Searches for High –High Searches for Low–Short Looks for Long
“A musical imagination that speaks through the beauty of sound...moving in and out of silence”....Edward S.Lisk
"The written note is like a strait jacket, whereas music, like life itself, is constant movement, continuous spontaneity, free from
any restrictions... There are so many excellent instrumentalists who are completely obsessed by the printed note, whereas it has a very limited power to express what the music actually means."...Pablo Casals
Also in Vol. 4, Chap. 3, Teaching Music !rough Performance in Band - GIA Pub.
Clinic Outline
Also in Vol. 5, Chapter 2, Teaching Music !rough Performance in Band - GIA Pub.
Also in Vol. 2, Chapter 2, Teaching Music !rough Performance in Band - GIA Pub.
The graphic illustrates a connected view of Alternative Rehearsal Techniques. The foundation is based upon the Circle of 4ths. All musical elements in a warm-up or instructional (lesson) setting evolve from this central point or row of pitches. The literature demands dictate the selection of musical elements as a preparatory exercise for a rehearsal. This may include articulation, rhythm patterns, chord qualities, listening, intonation to name a few. The Circle of 4ths ties all the important elements together.
To acquaint the students with the row of pitches, simply have them play the letter pitches (whole notes) starting with
their assigned (transposed) pitch and continue through the row as outlined below. Students should be instructed to play
mid-range notes.
B flat Instruments: C-F-Bb-Eb-Ab-Db(C#)-Gb(F#)-Cb(B)-E-A-D-G-C E flat Instruments: G-C-F-Bb-Eb-Ab-Db(C#)-Gb(F#)-Cb(B)-E-A-D-G F Instruments: F-Bb-Eb-Ab-Db(C#)-Gb(F#)-Cb(B)-E-A-D-G-C-F C Instruments: Bb-Eb-Ab-Db(C#)-Gb(F#)-Cb(B)-E-A-D-G-C-F-Bb
Circle of 4ths
"A musician’s mind constantly moves in time, synchronized with other members, creating an “ensemble” of musical expression through the lyricism of melodic, harmonic, and
rhythmic sounds... moving in and out of silence."
Discipline of Duration ExercisesDuration Exercises
Rehearsal #1 C F Bb Eb
Release the moment the "mind" thinks of "4".
CONTINUE THROUGHOUT ENTIRE CIRCLE OF 4THS
Rehearsal #2 C F Bb Eb ETC.
Rehearsal #3 C F Bb ETC.
Rehearsal #4 C F Bb ETC.1 2 3 4 5 6 7 8 9
(Release)1 2 3 4 5 6 7 8 9
(Release)1 2 3 4 5 6 7 8 9
(Release)
Eb
1 2 3 4 5 6 7(Release)
1 2 3 4 5 6 7(Release)
1 2 3 4 5 6 7(Release)
Eb
1 2 3 4 5 1 2 3 4 51 2 3 4 51 2 3 4 5(Release) (Release) (Release) (Release)
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4(Release) (Release) (Release) (Release)
Release the moment the "mind" thinks of "5".
Release the moment the "mind" thinks of "7".
**See STUDENT SUPPLEMENT Book 1, pages 9-12 STUDENT SUPPLEMENT Book 2, pages12-17
TEACHING ACCESSORIES page 13 &13A
Ruler of Time
Note Values
Number ='s
Number ='s
Number ='s
Number ='s
Graphic representing students with poor time awareness and response.
Lacking a unified Inter-nal Ensemble Pulse !!
Continue throughout entire Circle of 4ths
Misaligned pulse con-sumes rehearsal time!
& c C
œ œ œ œ œ œ œ œ œ œ œ œ œ œ*
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w
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*
wbEbœb œ œ œb œb œ œ œb œ œ œb œb œ œ
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wb
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*
wbDbœb œb œ œb œb œb œ œb œ œb œb œb œ œb
& *
wbGbœb œb œb œb œb œb œ œb œ œb œb œb œb œb *wb Cb
œb œb œb œb œb œb œb
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œ œ# œ# œ œ œ# œ# œ œ# œ# œ œ œ# œ#*
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The Grand Master ScaleThe asterisk * above the last note of each scale indicates mind/thinking preparation for the next scale.
This example allows 4 beats to ‘think’ and ‘prepare’ for the next key signature and scale.
The Octave of Reason !“Establishing new musical value and worth for scale knowledge and performance”
1. Spontaneous reaction to ALL keys.
2. Individual and section ensemble technic.
3. Eliminate mindless repetition of technical passages found in solo and ensemble music.
4. A meaningful approach to sight reading.
5. Foundation for harmonic understanding.
6. Foundation for solo and ensemble intonation (playing in a “pitch center”).
7. Access to a full range of band literature.
8. Foundation for improvisation.
*Those unable to play all scales are to sustain the keynote (tonic) for the duration of that scale and continue to the next scale. The Grand Master SHOULD NOTE BE NOTATED...students are to rely upon scale knowledge (application of what has been taught and known).
***See next page for scale variations.
Grand Master Scale Variations
Examples of scale variations (adjust patterns to grade level):
1. Ascending-Descending
2. Ascending only
3. Descending only
4. Ascend the first and descend the next scale
5. Descend the first and ascend the next scale
6. Ascend scale and descend chromatic scale
7. Ascend chromatic scale and descend major scale
C F B
C F B E
C F B E
C F B E
C F B E
C F
3 3
C
3 3
3 3
3 3
3 3
F
3 3
3 3
3
3
8. Mixed Meter Scale (7/8)
Scales are played with various articulation patterns from band literature being prepared.
C F
The Mysterious World of In-Tune Playing
(Volume 5, Chapter 2)
Piccolo
Oboe
Flute
Clarinet in B b
Trumpet in B b
Alto Saxophone
Horn in F
Baritone Sax
Bass Clarinet
Bassoon
Trombone
Euphonium
Tuba
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& wU w w w w
& wU w w w w w& wU w w w w w& wU w w w w w w
& wU
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& wU w w w w w w w w
& wU w w w w w w w w w? wU w w w w w w w w w w? wU w w w w w w w w w w w? wU w w w w w w w w w w w w? w
Uw w w w w w w w w w w w w
Principal Players = Begin Tuning from Principal Tuba and tune up to Piccolo. Beatless unisons and octaves are the priority.
Piccolo/Eb Clar.
Oboe
Flute
Bb Clarinet
Bb Trumpet
Alto Saxophone
French Horn
Baritone Sax
Bass Clarinet
Bassoon
Trombone
Euph.
13.
12.
11.
10.
9.
8.
7.
6.
5.
4.
3.
2.
Tuba 1.
Principal Player Overtone Tuning
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?w w w
& w w w wb w w w w w w wb w w
? w w w
& wb w w wb wb w w w w w wb w wb
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Overtone Series for Tuning
= Beatless Octaves = Beatless 5ths
C
F
Bb
Exercise Straight-Line Tuning & Target Tuning(Law of Sound = Highs never pass Lows = Highs must be in-tune with the octave below)
Octave.........Group 1....Bb - Eb - Ab - Db - Gb - Cb - E - A - D - G - C - F5th...............Group 2.... F - Bb - Eb - Ab - Db - Gb - B - E - A - D - G - C5th...............Group 3.... F - Bb - Eb - Ab - Db - Gb - B - E - A - D - G - CRoot............Group 4....Bb - Eb - Ab - Db - Gb - Cb - E - A - D - G - C - F
The Art of Tuning Overtones
1, To determine balance: If you hear yourself above all others in your section or band, you
are overpowering or over-blowing. Make an adjustment to volume by playing softer; lose your
identity by making your tone become a part of the section and/or the ensemble.
2. To determine blend: If you still hear yourself and you made the volume adjustment, you
are playing with poor tone quality. Adjust embouchure, breath support, posture, or equipment
(instrument, mouthpiece, reed). Poor tone quality will not blend with your section or band; lose
your identity by blending your tone as it becomes a part of the section and/or the ensemble.
3. To determine tuning: If you still hear yourself, and you made the adjustments to balance
and blend, you are playing out of tune ! Adjust the length of your instrument, as outlined in
“Six-Step Tuning Process”
Six-Step Tuning Process
1. As you play F concert with your section leader, listen for the beats. Are the beats fast or slow? Adjust the barrel, mouthpiece, or slide. (Move the slide/barrel in or out).
2. If the beats become faster, you moved the barrel, mouthpiece, or slide the wrong way. Adjust the length of your instrument in the opposite direction.
3. If the beats became slower, you moved the barrel, mouthpiece, or slide in the correct direction. Continue in this direction until all beats are eliminated, or until you are hearing the pitch as a straight-line.
4. If you are pinching your embouchure to eliminate beats, your instrument is too long and must be shortened.
5. If you are relaxing your embouchure to eliminate beats, your instrument is too short and must be lengthened.
6. When you and your section play the same pitch without any unnecessary embouchure adjustments and no individual sound or beats are heard (lose your identity)......... ...........you and your section are perfectly in- tune !
Full Ensemble Tuning (unisons, octaves, 5ths, 4ths)
"Played softly, a low frequency tone
must have ten times the energy of a
midrange tone to sound as loud and
almost a hundred times the energy at
higher levels. Our ears are most sensitive
to high tones, which require only a
fraction of the energy to sound as loud
as a midrange tone.".....Robert Jourdain
"Composers utilize the overtone series as part of their harmonic language. If the music is performed out of tune or misunderstood, then the overtone series is destroyed, and the composer's intentions are not fulfilled.".....Robert Jager, Composer
Basic Tuning #1Group 1: F, Bb, Eb, Ab, etc.Group 2 & 3: C, F, Bb, Eb, etc.Group 4: F, Bb, Eb, Ab, etc.
Tuning Variation #2Group 1: F, Bb, F, - Bb, Eb, Bb, etc.Group 2 & 3: C, F, C, - F, Bb, F, etc.Group 4: F, Bb, F, - Bb, Eb, Bb, etc. (move forward one pitch and return, etc.)
Tuning Variation #3Group 1: F, G, F, - Bb, C, Bb, etc. (do-re-do)Group 2 & 3: C, D, C, - F, G, F, etc. (do-re-do)Group 4: F, G, F, - Bb, C, Bb, etc. (do-re-do)
Tuning Variation #4Group 1: F, G, F, - Bb, A, Bb, etc. (do-ti-do)Group 2 & 3: C, B, C, - F, G, F, etc. (do-ti-do)Group 4: F, G, F, - Bb, A, Bb, etc. (do-ti-do)
Tuning Variation #5Group 1: F, G, F, E, F, - Bb, C, Bb, A, Bb, etc. (do-re-do-ti-do or scale steps 1, 2, 1, 7, 1)Group 2 & 3: C, D, C, B, C, - F, G, F, E, F, etc.(do-re-do-ti-do or scale steps 1, 2, 1, 7, 1)Group 4: F, G, F, E, F, - Bb, C, Bb, A, Bb, etc. (do-re-do-ti-do or scale steps 1, 2, 1, 7, 1)
Tuning Variation #6 Group 1: F, Bb, C, Bb, F - Bb, Eb, F, Eb, Bb, etc. (do-fa-sol-fa-do - or scale steps 1, 4, 5, 4, 1)Group 2 & 3: C, F, G, F, C, - F, Bb, C, Bb, F, etc. (do-fa-sol-fa-do - or scale steps 1, 4, 5, 4, 1)Group 4: F, Bb, C, Bb, F - Bb, Eb, F, Eb, Bb, etc. (do-fa-sol-fa-do - or scale steps 1, 4, 5, 4, 1)
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FULL ENSEMBLE TUNING EXERCISES (Using Circle of 4ths)Exercise Tuning in All Keys
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? ˙˙ ˙
˙ ˙˙ Ó
˙˙b ˙
˙˙˙b
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˙˙˙bb Ó
2
&F
˙˙ ˙
˙ ˙˙ Ó
Bb
˙b ˙ ˙b ÓEb˙bb ˙ ˙bb Ó
? ˙˙
˙˙
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3
&F
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˙˙ ˙
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˙˙b ˙
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˙˙˙b
Ó
4
&F
˙˙ Bb
˙b F
˙˙ Ó
Bb
˙bEb˙b Bb
˙b Ó? ˙
˙˙˙b
˙˙ Ó
˙˙b ˙
˙bb ˙
˙b
Ó5
&F
˙˙ ˙
˙b ˙
˙˙˙b
˙˙ Ó
Bb
˙˙b ˙
˙bb ˙
˙˙˙bb ˙
˙b ÓEb
˙˙bb
˙˙bb ˙
˙b ˙
˙bb
˙˙bb Ó
? ˙˙
˙˙b
˙˙
˙˙b
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˙bb
˙˙ ˙
˙bb ˙
˙b
Ó ˙˙bb
˙˙bb ˙
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&F
ww Bb
wwbEb
wwbb
Ab
wwbb ∑ ∑ ∑ ∑? w
wwwb w
wbb
wwbb
∑ ∑ ∑ ∑
4444
1
&F
˙˙
˙˙
˙˙ Ó
Bb
˙b ˙ ˙b ÓEb˙bb ˙ ˙bb Ó
? ˙˙ ˙
˙ ˙˙ Ó
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2
&F
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3
&F
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˙˙ ˙
˙ ˙˙ Ó
˙˙b ˙
˙˙˙b ˙
˙˙˙b
Ó
4
&F
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˙b F
˙˙ Ó
Bb
˙bEb˙b Bb
˙b Ó? ˙
˙˙˙b
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˙˙b ˙
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˙b
Ó5
&F
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&F
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wwwb w
wbb
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∑ ∑ ∑ ∑
4444
1
&F
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2
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3
&F
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ww Bb
wwbEb
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Ab
wwbb ∑ ∑ ∑ ∑? w
wwwb w
wbb
wwbb
∑ ∑ ∑ ∑
Beyond !e Page: !e Natural Laws of Musical Expression“The subtle emphasis can be communicated in music, by comparing it to how we speak.”
...Menahem Pressler, Beaux Arts Trio
“All music is nothing more than a succession of impulsesthat converge towards a definite point of repose.”
Igor StravinskyLow Searches for High High Searches for Low
Short Looks for Long
Speaking Rhythm Patterns
!ree Natural Laws of Musical Expression
LSHH L L
S LL H L
HLS
HL L
H LS L S L S L
S LL H
L
Beyond The Page: Natural Laws of Musical Expression
H L HL S L S L
H L S
L
HLS L
HL L HS L S L
H L
SL
or or or1 2 3 4
5 6 7
1 2 3
4 5 6(7)
(Fb)
567
1234
1234
(G#)(D#)(A#)(E#)(B#)
567
C - F - B - E - AD - G - C
C - F - BE - A - D - Gb b
bbb
b
# #
Circle of 4ths
The top number indicates the number of flats or sharps in that particular scale.The bottom number indicates the correct order of flats or sharps.
SharpsFlats
Woodwind Choir
Brass Choir
Percussion
PiccoloOboeEb Clarinet1st Flute1st Clarinet1st Alto Sax
2nd Flute2nd Clarinet2nd Alto Sax
3rd ClarinetAlto ClarinetTenor Sax
Bass ClarinetBassoonsBari SaxContra Clarinets
1st Cornet1st Trumpet1st French Horn1st Trombone
2nd Cornet2nd French Horn2nd Trombone
3rd Cornet2nd Trumpet3rd Trombone3rd & 4th French Horn
BaritoneEuphoniumTuba
String Bass
Vibraphone (soft mallets) Xylophone (soft mallets) Marimba (soft mallets) Tympani
Group 1 Group 4Group 3Group 2
Group 1 Group 4Group 3Group 2
&?### # # # ## # # # # # #
&?bb b b b b bb b b b b b b
or or or
(G#)(D#)(A#)(E#)(B#)
C - F - B - E - AD - G - C
C - F - BE - A - D - Gb b
bbb
b
# #
Circle of 4ths - Minor Scales
The small letter (a - d, etc.) above the shadowed capital letter indicates the relative minor scale.Woodwind Choir
Brass Choir
Percussion
PiccoloOboeEb Clarinet1st Flute1st Clarinet1st Alto Sax
2nd Flute2nd Clarinet2nd Alto Sax
3rd ClarinetAlto ClarinetTenor Sax
Bass ClarinetBassoonsBari SaxContra Clarinets
1st Cornet1st Trumpet1st French Horn1st Trombone
2nd Cornet2nd French Horn2nd Trombone
3rd Cornet2nd Trumpet3rd Trombone3rd & 4th French Horn
BaritoneEuphoniumTuba
String Bass
Vibraphone (soft mallets) Xylophone (soft mallets) Marimba (soft mallets) Tympani
Group 1 Group 4Group 3Group 2
Group 1 Group 4Group 3Group 2
a - d - g - c - fbb - eb - ab
a# - d# - g#
c # - f # - b - e
© Copyright 1991 MEREDITH MUSIC PUBLICATIONS
© Copyright 1991 MEREDITH MUSIC PUBLICATIONS
&?bb b b b b bb b b b b b b
&?## # # # # ## # # # # # #
Important Reminders!Edward S. Lisk
1) Do not play the "line"/Circle of pitches from memory! The Circle sheet must be on the music stand!a) It is important to focus eye on each pitch as it is played. This establishes a pitch name "imprint,
connection, or association" with a scale, chord, chord progression, or other musical fundamentalplayed in a particular key.
b) Reading only pitch names (not notation) allows mind and ears to focus on "LISTENING" and formingrelationships to musical demands (tone quality, intonation, balance blend, keys, chords, melodiclines).
REHEARSAL:1. Listen for entrance and release accuracy = the uniformity of ensemble pulse is whereaccuracy is found…not “following” the conductor.2. Change duration and silence for each rehearsal…it is NOT the exercise that is important,it is the POWER of FOCUSED CONCENTRATION in TEMPO that you are exercising.3. Director is listening for balance, blend and intonation when playing chord qualities.
2) Intelligence vs. Mindless Repetition… DO emphasize the "mind-body" connection or the "process ofproducing" a musical expectation (in-tune playing, tone quality, rhythm pattern, chord qualities, etc.).a) Re-align your expectations and move slowly. Place emphasis on the timed thought process (neuro-
signal) that dictates the consistent accuracy of the musical product.
"The primary cause of all learning is the activity of the student's mind. The best that the best teacher cando is to assist that activity." … Mortimer Adler, Reforming Education
*Always ask students to count the exercise out loud before playing…your direction will be, “let mehear what is happening in your mind.” Insist on accuracy, if not, your directions were not clearlyunderstood. This is a top priority (and where traditional techniques break down).
3) Duration exercises shape/develop tone quality, balance, blend, and intonation… provide students theopportunity to "listen for" and "adjust to" (making musical decisions) individual, section and ensembletone quality. All the questions and correct answers are insignificant if you and students cannot hear the“application” of what was taught!
4) Scale variations develop technical skills and articulation clarity. A band that plays all scales (andvariations) is a superior band able to play a wide range of literature…………….scale knowledge is to band music as the alphabet is to vocabulary/reading !
5) Dynamic exercises develop consistent response to the balanced/blended expansion and contraction ofensemble sound. The approach immediately expands the dynamic range of your band. You canspecifically point out discrepancies at any point within a crescendo or decrescendo (not possible withconventional techniques).
6) Active vs. Passive Participation: provide students with opportunities to exercise musical decisions that aremusically meaningful (too often overlooked). Without opportunities to exercise musical decisions(correct/incorrect), students remain "passive," waiting to be told what to do! The directors direction willbe = “let me hear what is happening in your mind.” You are establishing ENSEMBLE THINKING in aUNIFORM, TIMED PROCESS…this is intelligent music performance.
7) Be consistent: maintain the same musical expectations and rehearsal techniques for concert band, jazzensemble, marching band, small ensembles and solo performance. The fine art of musical performancedoes not change!
© Copyright 1987 Edward S. Lisk
Publications by Edward S. Lisk
Available through MEREDITH Music Publications/HAL LEONARD, Inc.
**The Creative Director: Conductor, Teacher, Leader ..........NOW AVAILABLE!
The Creative Director: Alternative Rehearsal Techniques (Text Vol. 1)
The Intangibles of Musical Performance (Text Vol. 2)
The Creative Director: Beginning & Intermediate Levels (Vol.3)
Student Supplement Book 1
Student Supplement Book 2
A.R.T. Teaching Accessories (Graphic illustrations of concepts)
Alternative Rehearsal Techniques DVD-Video, assisted by Virginia Commonwealth Univ. Wind Ensemble (1 hr.)
Available through GIA Publications
Teaching Music through Performance in Band Vol. 1
Teaching Music through Performance in Band Vol. 2
Teaching Music through Performance in Band Vol. 3
Teaching Music through Performance in Band Vol. 4
Teaching Music through Performance in Band Vol. 5
Teaching Music through Performance in Band Vol. 6
Teaching Music through Performance in Band Vol. 7 (Dec. 2008)
Available through Carl Fischer Publications
Edwin Franko Goldman March Series, edited by Edward S. Lisk
On The Mall March
The ABA March
Bugles and Drums March
Onward Upward March
On Parade (2009)
Edward S. Lisk 836 Co. Rt. 25
Oswego, NY 13126
Phone: 315-343-3595 Fax: 315-342-8695E-Mail: [email protected]
Web Site: http://web.me.com/elisk/Site/Bio_Sketch.html
