Does it really matter how we say things?

In the choral world, a large part of the musical performance relies on diction. If one singer vocalizes an “AH” while the others vocalize an “EH,” the ensemble will never blend or sound in tune. One example presented itself when our church choir was learning the old gospel tune, “Wade in the Water.” My daughter, the real singer in our family, became upset during the rehearsal. “It’s Woah-der, not Wa-ter,” she explained. As soon as the entire choir agreed on the enunciation (articulation) of the words, the rhythms fell into place, the chords lined up, intonation improved, and the gospel character of the piece was attained. The words developed additional meaning which gave our group (and our congregation) a memorable performance.

Diction in the Instrumental World

In the instrumental world, do we do that? Do we spend as much time working on the diction of our musical performance? More than just tonguing and slurring, do we alter our articulations based on dynamics, phrasing, placement in the measure, musical genre or other variables?

I spend time talking with students about how speaking with precise diction can make you sound smart (everyone wants to sound smart). I’ll write a simple sentence on the whiteboard. Then we’ll have fun saying it with different accents and articulations. We might try a proper Queen Elizabeth accent, something that sounds Australian, country, or like a surfer dude. I encourage everyone to pay close attention to the formation of their mouth, throat, tongue and air stream change for each. The takeaway here is that we’re examining something that students know how to do – to talk – and then discussing how to transfer what we observe into articulations for their instruments.

In music, the tools we use to create our unique “accent” are referred to as articulation. With any type of articulation, there are three parts: start, sustain, and release. Here are some things to consider when you approach any piece.

The Start of the Note

The start of the note occurs in that split second where we go from silence to sound. The question is; “How do we begin the sound?” Is it a soft, gentle start? Do we attack with an accent or an explosive approach? In the string world, it goes back to the bowing or plucking of the string. Often times we can tell how a note will be played because we can “see” a violinist place the bow (or fingers) over the strings prior to playing.

The same thing happens with percussionists; we can see how they use the mallet or hand to strike their instrument and where on the instrument they strike. Change the location of the strike on a drum head and you change the articulation.

With a wind instrument, our tongue becomes our valve to start the air stream. Whether single, double or triple tonguing we often use syllables: Tah, Tu, Dah, Do, Dit, Dot, Nah, Lah, Gah, Kah, Ku, Bah and so on. To accent we use a stronger initial breath. For a softer start, we may use less volume of air with high air speed – similar to “water” coming from a sink or hose. Decide what the music calls for and use that throughout your organization. Ultimately, we want a clearly defined start to each pitch.

Here’s a very common rhythmic example:

Try this rhythmic example with a Tah, Tah, Tah straight 1/8th note. Next try it with Doo, Dah, DAHT with a slightly late feel on the last 1/8th note. Totally changes the statement. Depending on the “style” of music, where the rhythm is placed in the measure and the articulation marks changes the way we perform the rhythm. I’d encourage you to write syllables into parts as necessary. Having your wind players enunciate with the same syllables fixes many issues with starts, accents (written and implied), and rhythmic precision.

Sustain

“Sustain” is the middle of the note, where the note gets its character, it’s beauty, it’s meaning. This is where vocalists focus on the vowels, while string players on the movement of the bow. Percussionists may focus on the evenness of their roll and stick/mallet placement while wind players focus on the air stream and embouchure. Consistent air pressure and speed help maintain clarity of pitch, intonation, movement, dynamics, etc.

As you observe your students, take note where in their bodies they are breathing. If their notes die off quickly, try to get them to breath lower and use more diaphragm for consistency. With little kids, a finger on the belly button works quickly and easily – “push out your finger as you breathe in…” Another exercise to help make the breathing process more concrete is to have them place their hands around their abdomen area (thumbs on their backs with their hands wrapping around to tummy). As they breath in the kids should feel their hand expand.

Embouchure Vs. Air

Don’t forget, embouchure is just as important as air. Make sure students know that embouchure is more than their cheeks, chin and lips. Encourage them to experiment with the inside of their mouth to learn how it affects the color of longer tones. Have them make note of tongue placement, the state of the back of their throat, and their soft palate. A tone that is choked or strained will need the throat to open and relax – think Hot Potato. A note that is flat may be the result of a mouth that is too open for the amount of breath support the kid is able to produce. So, raising the tongue into an “Ih” or “Ee” shape may help to speed up the air stream and help stabilize the pitch center.

In my own playing, I’ll imagine swallowing to bring in more of the fundamental and darken the tone. If I’m sustaining a pitch for several measures I often change the tone as the surrounding chords change to keep the note relevant within the harmonic structure by changing the shape of my tongue and how open or closed my throat is. This is a harder concept for kids because they can’t “see” what is happening.

Remind them that it takes a quiet space to hear some of the subtle differences in the tone. Be warned – even staccato 1/16ths have a sustain portion. Otherwise, they can lose their tone and musicality. A good example of staccato for beginning kids is to emulate is a hard rubber mallet on a xylophone – “Sound like the xylo.” The hard rubber has less of a percussive attack than the acrylic or plastic mallets. Thus, allowing the kids to hear the 3 parts of the note more clearly. Have the students listen carefully to the resonance in the short sustain and the quick decay into the release.

Release

The release is the ending of the note. In deciding how any note should stop, keep in mind the style of the music being performed. Just as with the attack of the note, the release can be soft, accented, tapered, etc. I tend toward an “open” ending to each tone using the release to set up the next note/rest.

When I’m playing a walking tuba part, I often say, “Toe.” “T” is the start. “O” is the short sustain. “Ooo” is the release. I want to emulate a tapered decay of the pizzicato string bass. I don’t stop the air with my tongue – I just stop blowing. Likewise, in legato playing the end of one note is the beginning of the next.

When all 3 parts of a group’s articulations are done correctly the musical effect can be astounding. In 1989, I heard one of the most phenomenal release effects of my musical life. A local marching band started their show facing backfield. They did an opening move that expanded the shape while playing basic block chords intertwined with moving eighth note passages. The last chord had a very slight crescendo, then an abrupt release. During the release, the band did a silent 4 count turn to the stands – creating an echo effect during the silence. Then, the most gloriously powerful sound I’ve ever heard came off that field. WOW, just WOW. Audience members fell out of their seats. No, they really did fall out of their seats.

The kids used the clean release to help set their embouchures and wind streams, produced a consistent TAH to start the tone and a full resonant sustain to produce a magnificent wall of sound.

Parting Thoughts

• Like talking, music must communicate with your audience
• If you have an intonation problem, consider the air stream and embouchure formation
• Teach rhythm through articulations
• Have the ensemble speak the articulations while fingering
• Don’t forget that “fingers” articulate as well
• Make sure releases have purpose
• Articulations need to be consistent throughout the ensemble
• Silence is just as big a part of the articulation equation as sound
• If performing an instrumental piece that was written with words, use that text to inform and shape your articulations
• This will cause some debate – Is it ok for your “tongue” to touch your lips?
  • As a tubist, sometimes the lower register speaks better with a slight touch to the lips
  • Smaller instruments – no – keep it above the teeth

We need to take just as much care with articulations and singers do with diction. Define then refine the articulations within each piece. Taking the time to work through articulations will make for a better ensemble and thus, better music. Remember to mentally “hear” what you want before you try to produce it. Once “said,” you can’t take it back!

The post Articulation – the Diction in Instrumental Music appeared first on MakeMusic.

Throughout my career, I have been fortunate to learn from some of the greatest teachers in our state of Georgia. To collect even a fraction of what they have shared with me would take several books. That said, here are a few of my favorite bits of wisdom gathered in more than 34 years of teaching.

“How To Do It” Quotes

“If they pick up an instrument – you teach. If they open their mouth to sing – you teach. If they walk in your door – you teach. So, when they walk out they are better than when they walked in.” – paraphrased from Joe Kirchner, former music coordinator

“A fair teacher will do what’s needed to create wins for their band, chorus or orchestra, but the truly great teachers will do what is needed to create a win-win for everyone because every kid matters.” – Jay Wucher

“Teach them everything you know, every day, and eventually something will stick.” – Dwight Satterwhite

“Make sure everything they need to know is covered in class. Don’t expect them to learn it at home.” (This includes more than just music. It includes how you carry yourself, how you treat others, concert etiquette, etc.) – T.K. Adams

“How would our ‘Academic’ teachers change how they teach if they had to recruit kids into their classes just to keep their job?” Add to that, “Would we change if we didn’t have to recruit?” – Former teaching partner of mine

“Sweat the details – That’s often where the music is.” – From many music director colleagues

“Of course my students play better than me. How else is our profession going to continue to grow?” – Dr. Phil Jameson

“Elementary School Teachers are the Best Teachers!”

I saw that on a t-shirt. Having taught in elementary, middle, and high school, I can’t argue with that statement. If you have never taught in elementary school – GO! Spend a day (or more) with an elementary classroom teacher and then again with the music teacher. Then, try teaching a class or two.

The class management skills alone will be worth it!

It Takes a Village

Remember to foster community in your building by forming genuine relationships with:

• Custodians – nothing needs saying, unless you like doing everything yourself
• Lunchroom workers – do you like to eat, do you use the cafeteria for meetings?
• Principal’s secretary – often finds money that wasn’t there earlier
• Principal – often approves money that wasn’t there earlier
• Scheduling counselors – ever had to get the 1st trumpet player (or soprano, or violin) back into your class?
• Academic teachers – “LGPE? I’m giving a pop quiz and Jimmy can’t miss or he’ll get a zero. After all, academics are more important…”
• PE teachers – “It’s my gym…”
• School bus drivers – ever needed an unplanned stop or a last-minute performance opportunity?
• Music colleagues – there’s power in numbers – always work as a team, even on budgets, recruiting, etc.
• Yourself  – If you’re no good to you, you’re probably no good to anyone else.

The Best Advice I Didn’t Always Follow

“Don’t stay stupid – ASK!”

Even if you feel it’s probably a dumb question – or – you don’t want to bother anyone, ask! Our profession is built upon quality educators who are more than willing to share their knowledge and experience. Understanding your limitations is important.

Remember, the great ones know how important music is to our kids and society. They want to share.

“How Not To Do It” Quotes

Sometimes observing how not to do things can be a great lesson, too.

“He needs band more than band needs him.”

A couple of years back a young director and I were talking about a kid he was teaching. The director was talking about the kid’s problems with acceptance, difficulty learning musical parts, awkwardness trying to march, and so on. As we talked and I offered a few suggestions, the director said, “Well, he needs band more than band needs him.” That didn’t sit well with me. Are we inclusive and in the business of educating kids or exclusive and in the business of trophies on the wall and lines on our resume?

“Keep the best and shoot the rest!” 

That statement wasn’t uncommon when I first started teaching. Like many educators, I strongly believe that music is for everyone. It’s okay to have groups at different levels that differentiate between the needs of the kids. It’s okay to have standards and not allow the dumbing down of our curriculum. But it’s not okay to exclude kids just because they don’t measure up to your exclusive standards.

“We teach 70% of the school….” 

This is a mistake I’ve made. A principal said, “We need general music for the kids who do not wish to perform.” We (the music teachers) said, “We teach 70% of the school right now in a performance group (band, chorus, orchestra). Isn’t that enough?” She replied, “What? The other 30% don’t matter? It’s too important to their development to miss out on music just because they don’t wish to perform.”

Then the principal smiled and suggested we get paid 70% of our salaries…

“I can’t write a lesson plan. It’s music! We work a little, then fix as it comes up.” 

You need to plan! Plan your lessons. Your week. Plan your semesters. Plan your whole year (performances, rehearsals, workshops). And don’t forget to include your family in your planning! Then constantly evaluate, see what needs tweaking, make changes and keep planning. It’s important to write these plans down. Use a notebook so you can track your progress, and so you’ll be less likely to “forget something” or ask “didn’t we already do that?”

“Music is the most important thing the kids do.”

That which seems most important to us may not necessarily be as important to our kids. Ever had students who were homeless? Students who were living in poverty or stressed about an AP exam? Ever had students with overbearing parents? Try to remember that our students have many facets to their lives. Sometimes we can get more by giving a little.

The Importance of Our Work

If you think what we do is just not that important, let me leave you with one quick story.

I had a particularly challenging student in my third year of teaching. He was an angry kid who had been forcibly taken away from his parents and placed in a group home. We had our moments when we would go around and around.

Last spring at my retirement concert, this student drove 80 miles to be there. He sat through more than an hour of middle school band performances and tributes. He waited in a reception line to say, “Thanks, Mr. G. Being in band made growing up bearable.” Today he has his own business, a wife, and two kids – and is a respected member of his community.

The thing is, I always thought that band (and I) needed him more than he needed us.

The post Music Education Philosophy I Learned on the Job appeared first on MakeMusic.

One solution several of my colleagues have chosen is to buy accounting software. The convenience of these programs is wonderful. But this convenience comes at a cost. And if we’re fundraising that often means we don’t have money for accounting software.

So, I roll up my sleeves and use what I have access to for free. In many school systems this means Excel, but for this work, Google Sheets is a fine option as well. While it does cost me some time initially to set up, it lets me to track data and funds on many levels. It also allows me to generate reports, statements, invoices, and many more documents essential for clear communication.

Organizing the Spreadsheet

I find that using the rows to list the kids’ and parents’ names and the columns for each individual entry works the best.

Some basic sample columns might include:

• Student first/last name
• Grade
• Instrument/section
• Parent name
• Contact email

These all help with disaggregating the data or creating lists when needed. I can sort by instrument and by grade levels. I have easy access to “groups” of parent contacts.

Moving further to the right, the next several columns cover financial recording keeping. Our groups travel every three years. So I will create columns for each month of each school year, where we record any deposits students have made towards the trip. At the end of this section is a column that calculates the total of all deposits. Next, I’ll create a column for each fundraising event. We typically try to have three fundraisers over the course of two years to help build a scholarship fund and to offset the cost of the trip for all participants. Again, I make a column that totals the fundraising amounts.

Finally, I create a few more columns that automatically add the deposits and fundraising totals together for a “total on account,” a column for additional funds needed to fund the trip, and a counting column for total participants.

I add the names of the kids – one per row – and do some adjusting to fill colors, borders, etc. to make the data easy to recognize and read. Then I create a row that totals each column so I can again disaggregate the info by month, fundraiser, etc. This is helpful for determining budget needs and projections.

After Each Event

At the end of any financial project (fundraising, trips) we do a wrap up sheet that shows where all the money came from and where all the money went. The “totals” columns and rows really make this a quick and easy process – usually less than 5 minutes to complete. The totals columns also make it easier to do such tasks as cross-reference deposits for errors, tracking NSF checks, identifying which students are current with funding needs, and determining which students need financial assistance (even those unwilling to ask).

When Sheets Get Too Big

Do you need more info about a particular fundraiser but your spreadsheet is getting too big? While expanding and contracting columns helps make large spreadsheets more manageable, it may be best to create another spreadsheet just for that fundraiser. I usually just create a second or third sheet within the same file or workbook for convenience. Then I link the totals cells for each kid to their cell in the original (what I call “master”) spreadsheet. This way, when you change totals in the fundraising spreadsheet, for example, they will automatically update into the master. In the sample below, I illustrate how the “profit for trip” is linked from the trip spreadsheet to the fundraising spreadsheet.

click on image for larger view

Creating Statements, Invoices, and Other Communications

Sending home a monthly statement to parents is an ideal way to keep financial communications current and transparent. Our statements are generated automatically using the mail merge features within MS Word and MS Excel (other branded software suites will do the same). Using the emails within the spreadsheet allows me to send statements electronically. Linking data cells to specific locations within the Word document allow me to print and send paper statements home via kids (the old school way). With a column for postal addresses, you can also create mailing envelopes automatically.

Creating the documents will take several minutes each depending how particular you are. However, I would like to offer a word of caution – keep statements simple! Include student’s name, parent’s name, group name, each deposit, each fundraising credit, total in the account, and total due to be current. You may also wish to have a place at the bottom for announcements. Remember, too many words and people won’t read. Use highlight, bold and italic text, underline, color, etc. to draw parents’ and kids’ eyes to the most important info. And try your best not to include anything else.

I format the letter or statement, then, using Word’s Mail Merge (Mailings Menu) features I link cells, columns, and rows to specific points within the document to create individualized monthly statements.

Managing data in this way makes it easy for me to also create a monthly report that auto-fills the data I share with our school bookkeeper. If an error shows up, a monthly accounting will make it much easier to track and correct. This simple task keeps our school’s administration in the “loop” so there are no surprises as to “where did the money go?” For the record I do a daily report for myself to make sure I have not “forgotten” to enter something – as you know, the kids come to class whether we’re done with the paperwork or not.

Here is an example of a merged statement, where all monetary values, group, grade, and names are merged from a spreadsheet.

Final Thoughts on Music Program Fundraising Data

Using data is crucial for our teaching profession in so many ways. Just as tracking kids’ progress is essential to good teaching, so is making sure your finances are in order. This is also crucial to peace of mind and the successful execution of the business side of our profession.

Lastly, save your work with a backup in a different location (Google Drive, Dropbox, flash drive, etc.). Nothing will ruin your perfect system more than a crashed hard drive. I know because I’ve been there!

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