EFFECTIVE PERFORMANCE, OF BAND LITERATURE BY W. FRANCIS McBETHCONTENTS SOLUTION I Achieving Correct Ensemble Pitch and Balance SOLUTION II Achieving Correct Performance of Dynamic and Articulation Markings . SOLUTION III Understanding the Interpretation of Asymmetric Meters SOLUTION IV Subdivision. . SOLUTION V ‘Twentieth-Century Percussion Techniques in Performance and Pedagogy SOLUTION VI Effective Podium Technique. . SOLUTION Vil Interpretation of Twentieth-Century Band Music 12 29 31 34 40Dear Bandmaster, The above salutation is used because 1 want you to read this, If the usual “Preface” were printed here, it would be overlooked. In reviewing our beginnings as conductors, I'm sure we had similar educational backgrounds. This is not meant to criticize higher education, but the carryover of usable information from university to job tends to be infinitesimal. Ninety percent of the workable technique that I use as a conductor-clinician, 1 never heard of in school, Professional articles do not offer much assistance. With bated breath you read the articles like “Getting the Good Sound From Your Bass Clarinets,” where the writer tells you to be sure players have good instruments; to make sure they are seated while playing; to use a cane reed; ete., ete, The more serious periodical is no better. It usually offers something like a complete analy'sis of the accented passing tones in the Hindemith Symphony. Such an analysis may be interesting, but you are looking for solutions that actually work and that can be used in tomorrow's rehearsal. T have written this book to share with you some solutions that have evolved from years of experimentation, and I guarantee they will work. I promise not to delve into the ethereal or to talk about the elusive. I shall discuss actual problems and my solutions to them. Inclusion of band parts makes it possible for you to pass on this information to your students aurally. If you understand it, only half the task has been achieved. If you and your students understand it, 1 guarantee results I would like to acknowledge my indebtedness to Betty Jo McCommas and Mary McBeth for their work in the preparation of this book. A special thanks to those who shared their time and knowledge with me for this book—Vaclav Nelhybel, John Barnes Chance, Vincent Persichetti, Richard Willis, Martin Mailman, Frank Erickson, H. Owen Reed, Howard Hanson, William Revelli, Frederick Fennell, John Paynter, Clarence Sawhill, Joe Barry Mullins, Harold Arnoldi, James Neilson. W, Francis McBethSOLUTION I Achieving Correct Ensemble Pitch and Balance PITCH Good ensemble pitch is one of the most elusive and mysterious factors con- fronting the young bandmaster. The usual attempt at a solution is the constant checking of individual horn lengths by ear or strobe. Certainly correct horn length is necessary, but an entire ensemble with correct horn lengths can play miserably out of pitch. Since this is true, other factors must be involved in correct ensemble itch, Pi There i one factor that looms above all others and that is: Piteb i @diect result of balance. Good balance must be the first order of the day, and seventy- five percent of the pitch problems will correct themselves. I have often said in clinics that to"work on pitch before a concept of balance is understood by the ensemble is like putting medicine on the red spots caused by the measles. The red spot itself is not the problem. Obviously, the problem goes much deeper. So it is with pitch. May I repeat, Piteb is a direct result of balance. So to achieve good pitch, good balance is the vehicle. BALANCE-General Comments There are many misconceptions about balance. One of the most common is that young conductors think that if all the players play well it will automatically come. Nothing could be farther from the truth. Some of the older conductors feel that it is simply a matter of blend. Again, it is not so, If the conductor cannot des- cribe to bis band bis concept of balance and bow to achieve it, then be is leaving , 10 piire chance the sound of the ensemble, Many conductors recognize the sound that they like, but few know how to achieve it. It is one thing to be a connoisseur, but still another to be the chef, Your reaction to what you have read should be: “Okay, you have emphasized the need for balance, but I already knew it was vitally important, Tell me how to achieve it. This is one of those techniques we talked about at length in college. But it is also an area where no solutions were given.” I have known and tried several concepts of balance. After many years of ex perimenting, I have found that just one is workable for the majority of contempo- rary wind music.ees in other words, in a brass section the frst trumpets will be the softest brass playing and the tubas will be the loudest with the instruments between these two groups pyramidic in volume. This does not mean that tubas “play loudly.” It simply means that they are the loudest brass. The following diagrams will show this more clearly. Disgrom A h\\ tomes tna Tre ; i Fane 8 and \ Hore mm i oto i te \Fronbeas é ita \rompens va ‘rember re Venn NOTE: The baritone horn has to be left out. Its volume ratio is dependent fon where it is scored. It may come with the first trombones or below the third trombones or with the horns. Each composition will vary for this one instrument. ‘The woodwinds make the same pyramid, starting at the top with flutes (or piccolo) with the volume increasing as it goes down to the bass clarinets (or contrabass), Diagram B As\\ Fates iccola) Fister ‘harness Clarinets ‘Alto Carnes, Aho Saxophones Alte Saxophones Tenor Stxophones tone Sexophones Biss Carnes \Conteabass Clarinets “Tessitra of Chord uded here since the oboes will vary in placement (by the composer) in the chord tessitura and should be handled accordingly. The bassoons should go with the bass clarinets in p to f sections but should move back (less volume) in ff sections. This is because the bassoon ff is not strong enough for the bass of twentieth-century sonorities, but the bass and contrabass clarinets are,The above diagrams are also acoustically correct, since, in a single sound, the fundamental is the loudest while the upper partials decrease in volume as they. appear in ascending sequence. There is some variation in volume of partials that creates the timbre of the sound being produced, but a general pyramid is always produced. The reason that the brass or woodwind pyramids will create good balance is that the higher the pitch, the less volume is needed forit to be heard distinctly. In other words, tessitura and volume interplay. Rimsky-Korsakoff was well aware of this in his orchestration. In his teaching of orchestrational balance, he states that it normally takes two horns to equal one trombone or trumpet (orchestral), but that when the horn is in its upper middle and high registers it is equal, one to one. ‘There are two slight variations on our pyramid which I will discuss later, but now let's set this one up with the band. SETTING UP THE DOUBLE PYRAMID (High School and College Players) At a pp almost all bands will be closer to the pyramid (without attempting to be) than at any other dynamic level, so to start use a crescendo from pp to ff for each single-chord exercise. Exercise | Chord Balance (Brass) Example 1 STEP ONE: NO PREVIOUS INFORMATION TO BAND Have the brass play the chord in Example 1 beginning at pp with a crescendo to ff (record if possible). STEP TWO: GIVE BRASS PYRAMID INFORMATION Have the instruments do the following: 1, Tubas, third trombones and baritone horns make a full crescendo 2. Second trombones make 2 3/4 crescendo 3. First trombones make a 1/2 crescendo 4. Third and fourth horns make a full crescendo 5. Second horns make a 2/3 erescendo 6, First horns make a 1/3 crescendo 17. Third trumpets make 2 2/3 crescendo| | 1 8, Second trumpets make a 1/3 crescendo 9. First trampets make a 1/4 erescendo NOTE: Mathematically what you want to happen, from the bottom of the brass to the top, would be: 1, Tuba, third trombone, baritone horn 10/10 of a full crescendo 2, Second trombone 9110 of a full crescendo 3, First trombone 8/10 of a full crescendo 9. First trumpet 1/10 of a full crescendo I have found these actual mathematical ratios hard for the players to grasp, but they will understand the general ratios that I gave under Step Two more easily, and will more dlosely correct their inconsistencies from where they normally play in volume. For exsm- ple, the third trumpet is asked to play 2/3 2 crescendo, This would seem inconsistent with the pyramid but it is not in reality. The third trumpets tend to play softer than the first trombones, and first and second horns, so the 2/3 philosophy places them more correctly, in the pyramid, STEP THREE: CORRECT BALANCE CRESCENDO Now have the brass play the chord in Example 1, starting at pp with a crescendo to ff with the Step Two information (record if possible), NOTE: What a difference there was in sound between Step One and Step Two! See how much darker the sound becomes. If you were able to record both, play them for the students s0 they will appreciate the difference. STEP FOUR: INCORRECT BALANCE Now have the brass play the chord ipp == {f) wrong by doing the reverse of Step. Two information, (Full crescendo players do none at all, 3/4 crescendo players do 1/4, ete, Have first trumpets do a full erescendo.) NOTE; What did you think of that sound? You probably found it very piercing and nauseating, but that is the sound you will hear from about fifty percent or more of the bands at the average regional contest, You see, Step Four builds a pyramid upside down, and upside-down pyramids fall over. If you recorded Step 1, notice how close in sound (balance) it was to Step Four (incorrect balance) or how close it was to Step Three (cor reet balance). If you were able to record it, the students can hear the tremendous differ- ‘ence that the conductor heard, Exercise I Chord Balance (Woodwinds) Now have the woodwinds do the same, Since the woodwinds have heard the four steps the brass did, 1 don’t think it necessary to repeat everything. Just go straight to Step ‘Two of Exercise I, transferring the brass information under Step Two to the respective woodwinds.Woodwinds Pyramid Information (Step Two) Have the instruments do the following: 1, Bassoons, bass clarinets, contrabass clarinet and baritone saxophones make a full crescendo 2, Tenor saxophones and second alto ssxophones make 2 3/4 crescendo 3. First alto saxophones and alto clarinets make a 2/3 crescendo 4. Third clarinets make a full crescendo (You must tell the third clarinets to make a full crescendo to geé even 21/2 crescendo. They are very timid, 2s you know.) 5. Second clarinets and second flutes make a 1/2 crescendo 6, First clarinets, oboes, Eb clarinet, first flutes (and piccolo) make a 1/4 crescendo Exercise III Major Triad (Brass and woodwinds) Pur the brass and the woodwinds together doing the crescendo correctly (Step Three) and incorrectly (Step Four), and it should leave an indelible imprint on their minds as to the better of the two sounds, Exercise IV Independent Volume Levels ‘The erescendo of the chord is the best way to , but now have the band enter at varying levels (p, mf, fete.) and retain that volume (no crescendo or decrescendo), Their balance should still be the same as if you had sliced a sound out of the crescendo of Step Three, Henceforth, when I refer to correct balance, I shall mean the volume py'amid of Diagrams A and B, SETTING UP THE DOUBLE PYRAMID (Junior High or Younger) ‘The younger players tend to comprehend a simpler explanation. With group, explain the pyramid by bass) instead of the individual instruments. Diagram € co 1 Chasines, 3 Cornet, our 1/50?) rites, Oboes, Ep Carnes 5 2nd and Sd Caines, Grup. and and Sed Corners com 1st Trombones, Horns, Ako Chane, ny te Sexophoncs, Tenor Ssxophones 2nd and 3rd Trombones, Tuba, (Baritone Horn, Bassoons, Bass Caines, Baritone Ssnophones Group 4 Do the four exercises previously discussed with the only difference under Exercise I, Step Two. This new Step Two information now will bé: this age ing four distinct groups (soprano, alto, tenor and coming10 Crovn 4 makes a full crescendo Group 3 makes 2 3/4 crescendo Group 2 makes a 1/2 crescendo Group 1 makes 1/4 crescendo ‘THE DOUBLE-PYRAMID IN CONTEMPORARY MUSIC In contemporary music double-pyramid balance is absolutely necessary or wrong chords will actually occur when correct notes are fingered, Sounds odd, doesn’t it, that wrong balance will cause a wrong chord to sound? Here is how it happens. In traditional harmony (triads and seventh chords) incorrect balance will pro- duce only a triad that is out of balance but still a recognizable triad, It is not so with a complex sonority. When it is out of balance, it can become a completely different sonority. Exercise V Correct and Incorrect Sonority Production Have the band play the chord in Example 2 (pp <= {f) correctly (double-pyramid— Step Three) and then incorrectly (reverse the double pyramid information—Step Four). Example 2 DIVERGENTS wr ere {© Copyright 1970 by Southern Musie Company, See what has happened? The chord completely changes its sonority. When done in- correctly (Step Four) it sounds harsh but when done correctly (Step Three) it is powerful ‘There is a valid reason for this, If you analyze the chord you wil find itis an integrated polychord. “Integrated” means itis mixed instead of stacked. If you notice in the bass clef, there is an integrated Eb major triad and an f minor triad over a C tonality. If this is not the predominant sound, then the C major triad in the treble will be too loud, causing the integrated polychord to sound just as wrong notes somewhere behind a Cmajor sonor- . This causes the chord to become a wrong chord. Complexities need accuracy whether they be in music or missiles. An unconcerned conductor will look at the chord in Example 2 and think, “Oh, well it’s modern so i's _ supposed to sound weird.” But it's not supposed to sound weird Ice supposed to sound rassve, If unbalanced it wil sound lke one seratchng his nails on a blackboard, but if balanced it will sound dark, virile and exciting,‘THE PYRAMID WITHIN THE SECTION The individual sections of the band that are divided into parts (first, second and third), should always present small pyramids. In a clarinet section the thirds must play twice as loud as the firsts to be equal in volume because of the chord tessi- tura. This holds true within all divided sections. There are times when all the section players play at the same volume, and that is when they are in unison. This brings up a most important point that the conductor must work out in rehearsal (there is no way to notate it). In contemporary music one finds many regular chord pyramids and inverse pyramids that start at a unison. The term “regular chord” pyramid here implies the old definition of lagged notes, stacking on top of each other and eventually forming a chord, “Inverse chord” pyramid means the downward dropping of lagged notes, causing an upside-down chord pyramid. CAUTION: Do not confuse the term “chord pyramid” with ovr balance pyramid term. 1 would like to use a different name for the chord pyramid, but it has been called this for s0 many years (for good reason) that we will stay with it. Exercise VI. The Inverse Chord Pyramid Example DRAMMATICO ue Wer d=50 2 cn {© Copyright 1970 by Southern Music Company Although this example is not a strict inverse pyramid, i is the best to star with Have the clarinet section play Example 3, They will all start in unison 2t the same volume, In the second measure, beat four, have the seconds and thirds increase their volume by a 1/2 level, On beat one of measure three have thirds increase volume another 1/2 level. The result will be correct balance, I'll even go further and say that this is the only way correct balance will be achieved on an inverse pyramid chord. Now play it incorrectly for students to hear the difference (that is, reverse the previous instructions). Example 4 DRAMMATICO we, d=n0 ] feces + = pee et O Fro ” (© Copyright 1970 by Southern Music Company Have trumpets use the same principle that the clarinets used in Example 3. In Example 4 one finds a strict inverse pyramid, That means once the notes are added they keep i|| repeating, In the strict inverse chord pyramid tell the students to increase their volume ‘each time their note name changes: The percent of increase is determined by how many notes are added. In Example 4 five notes ate added, s0 to “end up” with the bottom ivisi of the thirds twice as loud as the top divisi of the first player, each increase must be 1/5 louder. DIVERGENTS =60) — gad 3 : bg (© Copyright 1970 by Southern Music Company Have the low brass and the low woodwinds play this example, Don’t forget: When your note name changes, increase your volume; when it begins repeating, stay the ssme. Here seven notes are added, so the volume increase for each note change will be 1/7 level more. Exercise VII The Regular Chord Pyramid Example 6 DRAMMATICO (writen different) W.-M, de00 © Copyright 1970 by Southern Music Company In the regular chord pyramid the notes ate stacked on top of repeated or sustaining notes. Here the device is balanced by telling the players: When your note meme starts repeating or sustaining, start a crescendo. In other words, all trompets will start at the same volume; and, when their individual note starts repeating or sustaining, the player begins a crescendo, ‘THE "CHRISTMAS-TREE” PYRAMID Diagram D te, Oboes, Charnet romps [Ako Sazephones, ‘Ako Chines a Tener Stxophones, Baritone Suxophores, ‘Bass Carine Basoons Trombones, Tebe 12‘The above I call a Christmas-Tree Pyramid. 1 hope the diagram makes the vol ume levels among the three brass divisions obvious. This balance is used only in one place: that is, on entrances (horns, trumpets, etc.) where phrases overlap. An overlapped phrase is where a new phrase starts at the exact point where the old phrase was supposed to cadence but didn’t. This balance occurs at the entry of a ‘new upper family on the new phrase but is held no longer than one measure. After ‘one measure, the new family (horns, trumpets, etc.) must settle back to their places in the regular pyramid. Unless this is done the compositional device of over- Tapping the phrase loses its effect. Example 7 CHANT AND JUBILO WPM, dss) Tp. only bg eT ETE © Copyright 1965 by Southern Music Company If you will, notice the lower brass and woodwind cadence at the downbeat of the third measure, and the trumpets start their phrase simultaneously with the others’ cadence, Consequently, the trumpet volume must be louder than usual balance for one measure. Remember, Christmas-tree balance should never last for more than three or four beats and should be used only on overlapped phrases, CONCLUSION You will notice that | headed this chapter Pitch, but after only discussing it briefly, went on into balance for reasons stated. 1 would now like to go back to pitch to conclude. After you have assimilated and put into practice the preceding concept of bal- ance, you will find an unusual reaction from the band. Finally (when correct bal- ance is achieved) the players who have been out of pitch with the majority of the band start hearing themselves and their inaccuracies. When the balance is correct, cach individual player in the band is louder than each player playing notes higher than bis, and is softer than every player playing notes lower than bis, Now he can hear “down,” and hearing “down” is the best way (I will almost say the only way) for young players to play in pitch, It is very difficult for anyone to play in pitch: ‘with notes higher, but is not bard to play in pitch with notes lower. It is also easier to play in pitch with a lower chord than a lower single pitch. With this information the student knows which instruments to listen for, The first trumpet listens to the seconds and thirds and on to the horns (instead of the usual—the third trumpet trying to tune with the first); the first horn listens to the second, third and fourth and on down to the trombones, etc, How many condue- tors have said in rehearsal, “LISTEN! LISTENI,” without ever having told the players to whom they are to listen and for what they are to listen 134 In correct balance each player has lower part players to tune to except for the bass voice, namely the (uoas In the OFAss and Lhe Lass ciasinee in Here a real problem is exposed—the brass pitch relies on the tubas, If the tubas are wrong, then everyone is wrong (or, in other words, no one else can be right). It is impossible for upper partials to be right if the fundamental is wrong, Consequently, a great amount of the bandmaster’s efforts must be to correct individual pitches of the bass instruments, since they cannot get a point of reference like the rest of the band can. Stop and think of all the conductors that you have heard tuning their ensemble. ll bet very few worked with the bass voices. It seems all the effort goes into Group I o the soprano voices. This is easily understood, since the higher the pitch the more obvious the pitch discrepancy is to the layman's car. Think of how many times your adjudication sheets have mentionéd pitch problems in the upper voices and how few times a judge has criticized the tuba or bass clarinet pitch, which is usually more wrong, o to go even farther, the timpani pitch. Wrong timpani pitch ‘an create more instabilizy of pitch in an ensemble than most conductors realize Now we have the band balanced and the student knows to whom he is to tune, it is time to get correct instrument length. You would think that that is where we should have started, but this is not so, Instrument length is relative until the above is taken care of. You notice I use the term “instrument length” with students instead of the usual term “tuning” (which Iwill use with you). If the term “tuning” is used with the young student, he thinks that when he stops the strobe he is in perfect tune for the rest of the semester. It is a bad term psychologically and the student must be made aware that just because the instrument is the right length, he can still play out of pitch, Let us start with this premise: When the instrument is the wrong length, it is ‘more than the student can cope with, That is so fundamental that it sounds like a dumb statement, but most bands (35 to 45 a year) that I work are completely askew as to instrument length, About ninety percent of all flutes, clarinets and saxophones are sharp and have been for so long that correct pitch sounds flat to them. It has gotten to the point where when I find an upper woodwind that is flat Lam almost happy. ‘The strobe is most helpful in obtaining individual correct instrument length, but certain precautions are imperative. The first and most important precaution is: leier use the strobe until the students bave tuned or attempted to tune several ies by their ears. 1tis very important to train the ear and this can easily be “neglected by student reliance on the strobe, The strobe is valuable to “clean up” the stragglers in the shortest amount of time and to help the slower student in pointing where (or in which direction) he is misinterpreting his ear. The strobe is also important for the bandmaster for speed and accuracy. I say for accuracy but not to “put down” anyone's ear. How many of you have missed in your “ear diagnosis” because of odd tone quality of a particular player? ‘Another precaution: Don’t let the flutes “roll” while tuning. Rolling the flute is to correct pitch discrepancies while playing and not while tuning. If they are allowed to “roll” while tuning, it accomplishes nothing since once the rehearsal or ‘concert begins, they automatically move back to their normal playing position, Make them adjust the head joint.Now we have the band balanced, the players know to whom they are to listen. and the horns are the correct length. Now, and only now, can the conductor chide or correct students for poor pitch; because, if the conductor does it before the above is accomplished, the poor pitch is the conductor's fault and not the students’. The next question that arises at this point is, “What note or notes should the different instruments tune to?” The tuning note is not really all that important for good pitch. (My professionals in Little Rock tune only to an A with excellent brass and woodwind results.) I am usually hesitant in prescribing for fear that one may think that an unusual tuning note (unusual being anything other than Bb) is a cure-all or magic potion. ‘The best tuning note for any brass instrument is its fundamental played in its easiest register, This is obvious, since this is tuning the closed pipe before any alteration, The woodwinds seem to be another matter. An entire book could be written on the various systems and methods of tuning the various woodwinds. 1 will discuss flutes and clarinets, since they make up more than fifty percent of the woodwinds of the band. The clarinet is the most controversial, so we may as well begin with it. Various systems are sworn by (you notice I said “sworn by,”” not used, because usually no system is used) and I'm sure these are good, but I'll tell you of the one that has worked best for me. Tune the clarinet section to concert D above middle C (written E). Have the clarinets begin at p and crescendo to f. The strobe should roll slightly sharp, stop, and then roll slightly flat. Adjust only the mouthpiece and the barrel; the bell only if more is needed. Never adjust middle joint. 'll guarantee this tuning for the best section pitch in middle and high registers. I realize this is a bit different, but try it. I'll guarantee it for ensemble clarinet pitch. One word of caution: When the clarinets are tuned, half of the seconds and almost all of the thirds will still play sharp. This is because they are not using enough air and/or the correct firmness of embouchure. They used it while indi- vvidually playing the crescendo because they were on the spot, but they tend to get very lazy while playing third clarinet parts, causing their clarinet embouchure and air column pressure to resemble the same they would use to blow a Halloween horn, I've heard the sound and attitude of third clarinet players corrected hundreds of times by correct balance, When they find out the volume importance in the scheme of balance, their attitudes, pitch and sound change. The best tuning note for the flute is D2, since it is the closed pipe note. Don't let the specific instructions overshadow the balance important for pitch. I close as I opened: Good pitch is a direct result of good balance. 1516 SOLUTION I Achieving Correct Performance of Dynamic and Articulation Markings Historically, dynamics in musical performance have progressed at a slower rate than the other elements of music. Harmonic and rhythmic evolution are always far ahead of advancements in dynamics. It is hard to believe that it wasn't until the ‘Mannheim School that a gradual change (the crescendo) in volume occurred. It was so exciting a new device that it was referred to as the Mannheim crescendo. If his- torically this has been the case in other ensembles, it has been even slower in band music, Until the last ten years, multiple dynamic markings and the rapidity of vol- ume change in band literature lagged decades, even half centuries, behind those in orchestral literature, Band literature in this respect ‘caught up” in a ten year period, but left the players and many conductors behind, cither because the old literature hadn’t challenged them in this area, or because they couldn't drop old habits. When I was in high school, most band works started at a set volume (and tempo) and went for at least a double period without volume or tempo variations-very easy to do. It is not so today! Not only is dynamic change more prevalent, but polydynamic change has entered the picture. Study the example below and you will see that ‘“note-wise” any junior high band should be able to play it; however, “dynamic-wise” it takes a very mature group. In fact, I have not heard this per- formed correctly more than three times in my life. Example 8 REFLECTIONS FAST WrM, Grave MM. J = $2 (with feeling) gs Pp ome, in B 4 Tower Bg - = py = 0p (© Copyright 1965 by Southern Music CompanyI think now it is obvious that a new factor in the teaching of wind players faces us. This problem is just as important as fingerings and musically is more important. Thad rather have a wrong note done correctly than a right note done incorrectly. Notice in Example 8 that in the second measure there are three simultaneous vol- ume levels (polydynamics), with all three making a decrescendo, Measure three is even more complicated, ““Finger-wise” the difficulty of these five measures would be rated Grade II, but the difficulty musically would be Grade V or VI. Unfor- tunately, the conductor's grading of the difficulty and his doing the actual clinical work with these five measures will be based on rhythm and “fingers.” These are the least important aspects. A conductor could work hours on these five measures before getting them correct. Why is this so difficult for bands to do? I think it is because the student players know how to do everything in these five measures except the most important technique: Correctness of Volume Change. Since the simplest of all volume variants are the crescendo and the decrescendo, let’s look at them, GRADUAL CHANGE MARKINGS-~Crescendo and Decrescendo In the pedagogy of beginning wind players, dynamic markings are usvally pre- sented and taught by the memorization of definitions with very little, if any, ap- plied presentation, Definition is not enough, even in the case of the crescendo and decrescendo. Most students learn one crescendo and one decrescendo; but, in a single composition there may be thirty to forty different ones. The student's rate of growth for the crescendo and rate of decay for the decrescendo is usually per formed according to a preconceived amount of time span, no matter how fast or slow the tempo is going. Let me clarify this further: The amount of time span that it takes to produce a crescendo or decrescendo is governed by two factors: 1. the number of beats the crescendo or decrescendo covers, and 2. the speed at which the music is going This seems obvious to you, the conductor, but the majority of students haven't figured this out, primarily because they haven't been told. In other words, if a f= ff covers four beats in 4/4 time at J = 60, a majority of the players will achieve the /f (or the height of their growth) by beat three. The suspended cymbal player’s roll will always get there too soon, Conversely, if af = ff covers four beats in 4/4 time at J = 144 or above, no one will get to the ff in time, or if he does the —=— will be ~. The student usually learns to crescendo or decrescendo over four beats evenly at about 112-120; and, if the tempo is slower, it comes out << ; and, if faster —< . The reverse holds for the decrescendo. Example 8 is complex, but at least all the polydynamics are decrescendos ex- cept one (fourth measure). Here, in the lower brass, there is a contrary poly- dynamic (1 —— and —= happening at the same time). Example 9 below shows another polydynamic in which the entire band is de- crescendoing with the horns crescendoing. 17Mosaic Si re a cary» ina g-———£* of —— ot {© Copyright 1968 by Southern Music Company If these volume devices are not accomplished (whether they are unison dynamic change, poly dynamic change or contrary polydynamic change), the music will not make sense. The days when one could “kick off” a band and walk down front to listen are over. SUBITO CHANGE MARKINGS~/p, sfp, sff2P, ete. All conductors know what the subito change markings mean, There is no prob- lem here in understanding. The problem is in getting the band to perform them. College and high school musicians, especially players on the tenor and bass parts, have a peculiar aversion to these dramatic markings and almost have to be begged to do them. Soprano part players, particularly first trumpets (cornets), will usually execute them more correctly than anyone else, thus giving an odd ensemble effect. In tutti playing it is imperative for “group four” to execute the markings with emphasis lessening all the way to “group one." For correct examples of all the subito change markings, refer to the scoret and record of Howard Hanson's Symphony No. 5. The record to use is his own per- formance by the Eastman-Rochester Orchestra.** This work contains all of the ‘markings, performed correctly under Dr. Hanson's baton, These are “must” pur chases for all beginning conductors. ARTICULATION Enter Pandora's box! There are so many variations as to wind articulations that there is a dire need for standardization in this area. I think that the reason ‘iculation markings in the winds are ambiguous lies in the fact.that the winds Borrowed the markings from the strings and tried to force-fit them. ‘Reference to groups in Chapter I. ‘asl Fischer, publisher, Ss Mereury MG 40014.For example, any “off the string” articulation marking is transferred to the winds as a “separation of notes.” The problem is that when an “off the string” articulation is used the string is still vibrating and producing tone; but, when notes are separated in the winds, there is no sound, A wind player cannot produce an “off the air” articulation, We have to decide: Do articulation markings alter note values or not? If they do, do they alter them all the time or only part of the time? If they do not alter note values, what do they do? Example 10 Many composers and conductors contend that the simple accent (>) always “separates” notes~thus altering their note valve, @ a In this example it is obvious as to how separation would be done, rc) F How would this be done as to separation? Observation: _Itis obvious that the simple accent (>) does not always separate notes. Question: ‘Then is it possible that a composer may write (a) and not want any separation? Answer: Yes. Observation: ‘The simple accent (>) is written one way but can be performed two different ways. Question: If the above is true, why don’t we have two markings? Answer: 1 don'tknow. Question: Do some composers want the accent (>) to create separation all the time and other composers never want it to create separation? Answer: Yes. Question: How do you know which is which? Answer: There is not a simple, single answer because each example in music is a special case. I first became concerned about the prob- Jem when I found that if I put an accent over a quarter note, seventy-five percent of the time an eighth note came back at me from the band. Question: But at the beginning of this book you said that you would give specific solutions, so let’s hear yours, 1920 Answer: Yes, you are right. I did say that and I give you specifics for my ‘own music on tne cover sneet oi eacin Lute, Yur sid tay mvs De what other composers want, so to tell you to use my desired ef- fects for everyone would be unfair. The most intelligent and use- ful method would be to ask several authorities who deal with articulation for their help. All of us will benefit from their years of research and success. COMMENTS FROM AUTHORITIES IN ARTICULATION Composer and Conductor's View {From the I chose ten composers and ten conductors who work with wind ensemble music, ‘The composers responding were John Barnes Chance, Howard Hanson, Martin Mailman, Vincent Persichetti, Vaclav Nelhybel, Richard Willis, H. Owen Reed and Frank Erickson. ‘The conductors responding were William Revelli, Frederick Fennell, John Payn- ter, Clarence Sawhill, Joe Barry Mullins, Harold Arnoldi and James Neilson. In my opinion, the above men are the elite in their respective areas. The majority of those I consulted responded to my questions, and their responses are invaluable. Study and discuss their remarks, and you will get a college education from it, In choosing articulations to be discussed, I chose the five most often used wind markings. The major problem in any discussion is that the note value the marking is placed over, the period of history, the style of the composer, etc., all come into play, but naturally all situations were impossible to list. I chose to use the articula- tion marking over four quarter notes. This caused the discussion to be general ‘The five questions asked were presented in the following format: Describe how the following should be performed by wind players. 14). 1 JJ morher words, what does the (=) mean? 24d4 3.4) J dd) tnother words, what does the (+ ) mean? In other words, what does the (—) mean? In other words, what does the (2) mean? In other words, what does the (a) mean? John Barnes Chance Frofesor of Compoition, University of Kentucky 1. (=) Each note should be accented as it is attacked (“hard-tongued”), but not shortened in value or separated from the next note—except in certain music where this has become a stylistic convention, as in traditional marches, for ‘example. To my mind the indication is synonymous with the term “marcato” but has the advantage of reminding the player visually as he attacks each note~and the disadvantage that many will interpret it to mean “separated.”2. (=) As legato as possible with each note attacked without accent (“soft- tongued”). 3. (+) Each note shortened in value and, hence, separated from the next. Alas, the amount of shortening of duration depends upon several factors and can- not be pinned down to any simple fractional rule. Staccato dots placed over half-notes and whole-notes in a chorale mean (to me) about the same thing as No. 2 (above) while staccato eighth-notes in a bass part very likely may indicate as close an approximation of string pizzicato as possible. This inter action of tempo, note value, style and textural location tends to render the staccato dot rather ambiguous. The use of rests between each note makes perfectly clear the exact length of duration desired, but tends to become awfully fussy as well as hard to read. 4.(Z) L eannot recall having ever used this indication and confess to being a bit mystified, I have to assume that it means accented but not separated—which is what I mean by the accent mark (No. 1) alone, Perhaps the combination might serve as an effective way of insuring the performance described under No. 1 above-except that some folks take the legato-stroke (No. 2) to mean “separated”! 5.(A) I have always employed this mark to indicate that 2 particular note should be projected dynamically above its surroundings by accenting it for the whole of its duration (not just its attack, as with No. 1), equivalent to the old use (by Haydn, ete.) of rinforsando in distinction to sforzando. I long ago realized, however, that this is evidently a purely personal eccentricity that I came by out of the blue, since everyone else seems to feel that this indication (No. 5) is identical with No. 1, and that both are simply a quicker and more graphic way to write sfz. 6. Additional remarks: One thing that does scem clear to me about the situation is that a certain amount of ambiguity and confusion is inherent in any system where a given symbol is employed toward two different purposes at once: duration and dynamics. And since, with wind instruments, one is controlled by the tongue and the other by the tongue and diaphram combined, the inter- active confusion is further confounded, And on top of this basic problem there is the additional quandary-making fact that certain of these marks have specific (and somewhat different) connotations to a string player within the conventions of bow-technique, to an organist where dynamic accent is an illusion created by durational values, or to a jazz musician used to the nota- tional conventions of a jazz chart, not to mention the musicologist involved with the historical evolvement of these various squiggles! Which reminds me that your list doesn’t include the one that completely baffles me: ++ ¥¥ 22? Another articulation question not on your list but which I have had many hassles over is the situation where two (or more) notes (of different pitch) are under one slur with a staccato dot over the last note, To me this simply means that the last note should be clipped short, but many take it to mean that the last note should be tongued. I think this may result from analogy to the use of slur-&-dot as a bowing indication (to separate the notes by briefly stopping the bow between them). I had a discussion with Sawhill many years | ' i 21ago in which he said that he agreed with me (all slurred but last note short), thor that he felt we were in the minority. Frank Erickson Composer and publisher, Summit Publications 1.(&) These notes should be attacked with more force than would ordinarily be used, At a slow tempo there should be a quick decrescendo to the indi- cated dynamic level but at faster tempos (and faster note valuations) the accented notes will probably be played at a higher dynamic level than indi- cated without much of a decrescendo (if any at all). 2. (=) Each note should be held its full value with a minimum of space between each note. 3. (+) Each note should be played “‘about half” its indicated value, In slower passages the duration will probably be relatively longer and in fast passages, relatively shorter. 4, (=) Each note should be held its full value and accented. 5.(A) Simply a heavier accent than>, Howard Hanson President Emeritus, Eestan Schoo! of Music; Fellow, American Academy of ome 1. (=) This should indicate a simple accent on each note, also the separation of one tone from the next, non-legato. 2.(—) This marking should indicate a tenuto on each tone. Sibelius frequently uses a slur under the notes to indicate a sustained legato but with emphasis on each tone. 3.( +) This should be a simple staccato without accent. 4. (2) A marked accent but tenuto father than detached, 5. (A) The heaviest accent, not tenuto, Martin Mailman Profesor of Composition, North Texas State Univ. 1, (©) This marking means a very forceful attack with very little decay after the attack, Also a clear separation between each attack, although by no means should the duration be abbreviated too much. It seems to me a great deal would depend on tempo and dynamics as well as the general character of the music. 2.(—) This marking means a broad attack. Very, very little separation between the end of one sound and the beginning of the next. In certain situations it might indicate a slight emphasis or “leaning” on a sound. Generally I feel it is = © one step removed from a slur. 3. (+) This marking means a short staccato, Here again, tempo would be very important in determining how short or how much separation between sounds. 22In many cases I feel this is a mark that approximates a resonant pizzicato in the strings. 4. (2) don't know what this means. I have used to indicate what would be a slap pizzicato in strings. 5.(A) This marking means a “bell like” attack. Considerable decay after attack and marked separation between sounds. It implies to me a certain resiliance or bounce quality not found in No. 1. Vaclav Nethybel Composer, New York City 1. (>) Emphasized attack of the note, sometimes with a moderate shortening of the note value. 2. (=) The whole duration of the note value is required. 3. (+) The note value is substantially shortened. 4. (2) The whole duration of the note value is required. The attack of the note is emphasized. 5. (A) Strongly emphasized attack of the note, sometimes with a shortening of the note value, 6. Additional remarks: As 1 see it, your five points could be divided into two groups: a. Your Nos. 2 and 3 are concerned with the duration of the note. b. Your Nos. 1 and 5 are concerned with the emphasis of the attack of the note. c. Your No. 4 is 2 combination of duration (sustained) and emphasis (the strongest). I do not have one answer, because the emphasis markings sometimes do im- ply some degree of shortening of the duration of the notes. Just a short il- Iustration of my point: I would expect a half note marked > (your No. 1), or even A (your No. 5) not to be shortened if the character of the music were of the “espressivo-cantabile” type. But if the music were of rather “‘marcato”” character, then—and again I am speaking very generally—I would expect the notes marked with > or a to be somewhat shortened. The overall expressive character of the music is the criterion for the inter- pretation of these markings. Vincent Persichetti Professor of Composition, Jullard School of Music 1, (=) Sharp attack and tone held. 2. (=) Gloved pulsation with slight separation, 233. (+) Sharp attack and abrupt release of tone. 5.(A) Extremely harsh and sharp attack with considerable decay. Richard Willis Profesor of Compariton, Savior Unversity; Fellow, American Academy of Rome 1. (©) An accented or forceful attack on each note. 2. (=) This is both a senuto sign, signifying that the note should be held full value, and also a kind of accent mark, indicating a certain “pressure” or “leaning” on the note (but without the special attack of No. 1 above). In the given example I would want the notes to be given their fullest value and stressed slightly, but without any initial accent. The sign may be used within a slurred phrase to indicate a slight emphasis on a particular note (and per- haps a rubato lengthening as well). 3.(+) A detachment, or separation, between the notes, the amount of such depending on tempo and possibly other considerations. 4.(2) Obviously, a combination of No. 1 and No. 2-it adds to the “pressure” effect of No. 2, above, the initial attack of No. 1 5.(A) Similar to No, 1, but more forceful. Used only in higher dynamic levels. Harold Arnoldi Director of Bands, Wayne State University 1. (©) This accent means to stress more diaphramatically than tongued (breath accent). 2.(—) Legato: means connected. A flow of sound with the quarter notes being articulated with a soft tongue, such as : doo or loo syllable. 3.( +) Staccato: means detached or separated. The notes should be spaced. 4.() Accented legato, being diaphramatically accented, or breath accent with soft tongue, 5.(A) This accent should be hammered, or more percussive (hard tongue). Frederick Fennell Conductor, Mismi Wind Ensemble, University of Mismi 1. (=) Depending upon the speed, these quarter notes are played with a clear and percussive attack, the length that goes with them being influenced by speed and musical style. 2,(=) The indication produces a very sustained, reiterrated sound, Emphasis is toward length and is intended to make it clear that no percussive quality should be present. The articulation Thoo, rather than any hard ““T” is pre- sumed to be employed. 24 j3. (+) Brevity and detachment are implied here, usually resulting in a dry but resonant quality of sound. 4. (2) This combines the characteristics of No. 1 and No. 2, calling as well for maximum sostenuto to each note before release to the next attack. 5.(A) This is very akin to No. 4 with the added characteristic of maximum ‘emphasis on the attack; a favorite of Beethoven, and therefore, Brahms artic- ulation. They usually used this version of it in calligraphy: 6. Additional remarks: All of the above depend upon the character of the music of which they are part. One of the most frequently misinterpreted of all articulations (still in use by some composers and/or atranger-transeribers) is this dd 44. 1, of course, is covered in No. 2, but those infernal dots keep confusing the kids and too many guy’ up front, Joe Barry Mullins Conductor, Wind Ensemble, Univesity of Southern Missiso 1. (>) The accent mark only suggests some type of stress. It does not, per se, describe the type of attack or length of note, or amount of space between notes, if any. The sign has no consistently definite meaning for all times and all places. Again, it only suggests some kind of accentuation but only in con- text of the total musical situation. 2.() The tenuto sign means only to hold; it suggests some kind of Jong sound or full vatue, As a symbol, it does not prescribe a mode of attack or exact length of the notes, or does it mean separate. Again, this sign only suggests Jength: long sound as opposed to a shorter sound. It has no definite meaning, but must be employed always within a musical context or framework, 3.(+) The “dot” indicates some type of shortness, or staccato, or separated notes, etc. Unfortunately, it carries no indication of type of attack, or even. more unfortunately, no suggestion of type of release. Depending upon the music always, notes with this sign may be very staccato (tut) or almost legato, or any one of various styling methods. The sign must be tastefully employed within the style of the music. As with all other signs, it has no prescribed meaning; it only suggests, or hints at a method or style of execution, 4. (2) The accent with tenuto simply gives some type of direction for stress with length. 5.(A) This inverted accent sign is “supposed” to indicate a more marcato or more staccato type of accent as opposed to No. 1 above. At times, within particular passages where it is used this is true, but the sign is not understood by all musicians to mean this general “thing” and the symbol is often care~ lessly placed like the other symbols under consideration here, 6. Additional remarks: To repeat: all of these signs have for me only general meaning. They never have definite, exact, pre-conceived, prescribed meaning. They can only be used within the character of a piece of music, its general or 2526 specific style, tempo, rapidity of notes, types of instruments playing, solo, partial tutti, various combinations, harmonic and melodic character, and many other considerations ana situations. 1nese sysibuis ate, ine Gy nainicay purely relative and only suggestive. It is my opinion that assigning the first accent mark above (>) the con- notation that note separation must occur is perhaps the worst and most un- ‘musical thing that has been given to wind players and bands in the last number of years, The business of note separation either from this symbol or without it is really a musical abomination—it tends to ruin the attack, the sound, musical continuity, phrase, etc. This sign cannot be interpreted this way! Number 3 above (4) is perhaps almost as bad as the first. More rapidly moving notes (fast passages) must be played longer not shorter, and notice how often the dots are used with fast notes! Completely opposite to sen- sible performance approach and acoustics, not to mention other elements! ‘Also, how is the staccato note ended? With the tongue? With the throat? What kind of attack is used? Again, no definite meaning can be assigned. The only answer is to be found within the demands of the musi. It is obvious that musical taste, judgment and sensitivity must be brought, to bear when choosing a playing style suggested by these signs. It is also a matter of musical discrimination and making truly musical choices, not aca- demic choices, Musical flexibility is required and this is dependent upon aural concepts and musical understanding within the overall style of a particular piece. Every piece is different, although they tend to broadly employ certain similar performance techniques, if they are roughly of the same general style. ‘Another disturbing factor, almost as bad as length and separation of notes is that a variety of styles of attack must be used. Yet we tend to have only one way to start a sound! James Neilson Director, Educational Department, G. Leblanc Corp. First, a few general observations before entering into a discussion of these spe~ ific examples. In pronouncing these articulations, success depends largely upon the length of silence between the notes. This is a personal thing in creative interpretation. Con- ductor “A” prefers more silence between the notes than does conductor “B,” or vice versa, Good conductors often ignore the articulations written in by the com- poser in favor of others they think more adaptable to the style of the composer's music. While this can, and at times does annoy composers, it must be here said that in so doing, conductors often reveal hidden beauty in a composition of which its composer was scarcely aware, if at all, Silence is golden! How true this is in musical interpretation, The silence between notes is often more eloquent than the notes themselves. These silences must be as precise in temporal value as are the notes which surround them. Silence must begin precisely at the release of the note, no matter how many instruments are at that time playii ,, and it must end precisely with the attack on the ensuing note, nomatter how this note is addressed. There is ambiguity in terminology here. In wind instrument performance, 2 note cannot begin until the tongue is withdrawn from the point of contact, wherever that may be, This action of the tongue is one of release. How else can it be explained? It is the manner of this release, its swift- ness or slowness, and the amount and intensity of the air column thereupon ex- pelled that act together to give shape and meaning to the articulation. The con- ductor who fails to discuss the problems of articulation in this specific way during rehearsal may find himself in constant trouble. Like stars at evenfall appearing in a sky of velvety darkness, articulated notes appear against a black curtain of silence. Unlike the stars, however, which seeming- ly appear at random, the appearance of articulated notes must be controlled care- fully. For herein lies 2 conductor's success in achieving stylistic authority. Like a nova in the heavens, some accented notes burst forth suddenly with glaring bright- ness. Others steal on the scene gently, like stars dim in a distant sky. Some articu- latioris march across silence with measured tread, the space between the notes controlled as rigidly as are the notes themselves. Which leads to a further thought. Sonorities and timbres in articulated patterns must be balanced carefully, other- wise, of what use a precise entrance? If a novarlike entrance should be golden-hued, what sonorities and timbres should dominate? Certainly not those of shrill soprano- voiced instruments. When articulated notes are to enter the scene gracefully, what shall be the manner of their entrance? With but few exceptions, accented notes should be impacted in the mood of the prevailing dynamic. When successive notes are accented strongly, sonorities, timbres, and dynamics must be weighted care- fully. How many conductors ever give thought to these matters? Asan example, take the “Hallelujah Chorus” from Messiab, music requiring successive strong ac- cents in its opening measures. Before beginning a rehearsal on this majestic chorus, how many conductors turn to the soprano section and say, “My dears, before you ‘come in you're too loud.” And if they do not say it, shame on them! A malad- justed, shrill timbre from one piccolo can ruin the effectiveness of a series of strongly accented notes played by one hundred other performers. | have heard this happen time and time again, There are three general styles of attack. a. NORMAL The note is addressed without delay and without dynamic modification from beginning to end. b. BY IMPACT The note is addressed without delay and at a place above the prevailing dy- namic. There is a diminuendo to the point of release, its shape determined by the strength of the prevailing dynamic. The nature of the music (whether dramatic or lyrical), and other factors. ¢. BY INDIRECT IMPACT. ‘The note is addressed with a slight delay and at a place somewhat below the dynamic of the preceding note. There is a slight crescendo to the release, usually to a place just above the prevailing dynamic, This style of attack should be used more often. Band conductors tend to ignore its existence, unfortunately so. 2728 Now to an examination of the articulations. The numbers are those used to identify the examples. 1, (>) Here I would use (b). The silences would be portrayed metrically in this way. PeNsws sea) Even so, there are other factors to consider. Toward the end of faster sections in many Rossini overtures there is often found a series of three or four mea- sures containing accented quarter note chords leading to a period ending. The overture to The Italians in Algiers has, at those places in the score where these accented chords appear, the following line in the bass: , oS SSS The same harmonic progression is used in each measure: HIv-1§-v The last thrée notes in each measure lead inexorably to the first note in the next. Because of the harmonic activity herein involved, the temporal value of notes and silences in these measures would read as follows. (Note carefully the length of the note at the period ending.) pdghg deg dd a How many times have you heard tubas ruin the above concept by taking a breath at the bar line? It is difficult to talk to band conductors about this fastidious approach to note-spacing. When I have done so, I find my peers regarding me with some- thing akin to unmitigated horror. 2.(~) All other things being equal, 1 would use (a) and keep spacing to a minimum, 3.(+) 1 will not allow myself to be trapped here. I assign temporal value to detached notes only after secing them in context, noting the style of the music and the dynamic scheme within which the detached notes are placed, Generally speaking, the louder the dynamic, the shorter the silence between the notes, although there isno hard and fast rule. I repeat, 1 must see detached notes in context. ‘4: () There is a seeming contradiction in this written articulation. Composers do riot use it overly much, When I see it I try (¢) at first. If that does notwork for me I switch to (b), with minimal silences between notes, and much less emphasis on a diminuendo to the point of release. 5. (A) Given this articulation, I use (b) and request much more silence between the notes, with little, if any diminuendo to the point of release. Composers tend to use this articulation when seeking special emphasis on notes. When giving special emphasis to notes, conductors usually have this articulation in mind, John Paynter Director of Bands, Northwestern University 1. (>) Accent with normal spacing between notes, 2. (=) Articulate each note but without audible space between, 3. (+ ) Shorten each note value more than normal spacing (non-accented) 4. (&) Accent but with full value given to each note. 5.(A) Very hard (strong) accent with normal spacing between notes. 1. (=) Détaché style with tongue and breath emphasis, More accent with breath than with tongue, a la string bowing, marcato. 2.(—) Connected-also a bowing technique. Do not separate. No accent. Sostenuto, 3. (+ ) Staccato, No accent. Tongue easily, lightly. Tu or du articulations. 4. (&) Quasi-marked accent. Separated '‘ma longa.” 5. (A) Marcatissimo. Sharp accent with tongue. Firm, no diminuendo. Clarence Sawhill Director of Bands, UCLA 1. (=) Always keep markings and dynamics in keeping with the music or what the composer has in mind. The mark in No, 1 (>) means more pressure with air at the start of the note, depending on the character you wish to express. 2.(—) I feel most conductors prolong this marking too long. You must take into consideration the size of the group, place of performance, how many on a part—usually full value is enough, 3. (+ ) Ordinarily I hear notes played too short when marked too staccato. Only as short as the music requires. I feel the conductor must interpret the length of staccato according to the music. 4. (E) Breath and length again, music and conception must play a key part in how to interpret marking. 5.(A) Ordinarily interpreted as a tongue accent (very strong) I always feel it must be in keeping with the style of the music, Don’t overdo the accent. 2930 SOLUTION II Understanding the Interpretation of Asymmetric Meters Asymmetric meter is somewhat new to band music and seems to frighten the young conductor. After several years now, about everyone has finally figured out that the eighth notes are equal, but the interpretation of the combination of sim- ple and compound still seems to be a bit of a secret, Asymmetric meters (5/8, 7/8, ete.) are measures in which simple meter and compound meter have been combined. Simple meter and compound meter are not interpreted the same and when they are combined, it means that two interpreta- tions of a beat are used in the same measure. The most common mistake is in the performance of the compound beat or beats; the simple beat (or beats) is usually correct. In simple meter the first subdivision is: ied J strong weak song weak In compound meter the first subdivision is: Si J id li rong. wesk weaker rong. weak wether NOTE: The “strong” of the compound is stronger than that of the simple. ‘The “weak” of the compound is a bit stronger than that of the simple, with the “weaker” of the compound less than the “weak” of the simple, When combined in the asymmetric measure, the interpretation becomes this: weg § eTIt is usually incorrectly done as: wer 8 IIIT! ‘An excellent trick for teaching this is to use the Bb major scale (full band) as a 7/8 measure, Have the band play: rab dd PIs] |n BC DEF Gm 2° Pa 3 rib Flies | »CDDFGA 2 rab eT ISI |e » CDR FG A 5 at Sy Have the band play the following example: Example 11 SONUS VENTORUM hse smith ee © 1,08, Bele (© Copyright 1970 by Wingere-Jones Publishing, Inc. Used by permision, Now have the band play the above example, but repeat the eighth notes on the cighth rests to get the feel of a “filled out” 7/8 measure. Some writers, for safety’s sake, will write out a 7/8 measure as two measures (2/4 and 3/8). This is stil 2 7/8 measure with an attempt at simplification, This is pointed out so that one will not overlook the 3/8 measure as a compound beat. In the following example, both melody and accompaniment must get the compound interpretation in each 3/8 measure, Practice the accompaniment alone and melody alone; then put them together. 3132 Example 12 DIVERGENTS (2nd Movement) wrM (de s4sy No in pars Baas (© Copyright 1970 by Southern Music Company Conduct all asymmetric measures on regular frames but with elongated beats where necessary—5/8 on the two frame, 7/8 on the three frame, ete. You will find the band can feel these very easily and you will get to enjoy the variety, once you cease to fear them, by understanding the combination of simple and compound.SOLUTION IV Subdivision Correct subdivision is a basic fundamental that, if not achieved consistently, drops bands one division at contests. The adjudicator usually uses the catch-all term “muddy” to refer to incorrect subdivision; however, it has been used so often. that, for the young bandmaster and the students, it no longer has any meaning. A conductor has to learn to hear incorrect subdivision, Hearing it doesn't come naturally. In a sense, the process is like learning a new word and then hearing it used in conversation four or five times the week one learns it. An individual would swear he had never heard the word before he learned it, Once you learn to detect, poor subdivision, you hear it constantly. It is difficult enough for one person to subdivide simple meter beats into equal halves, but imagine the problem of getting a fourteen-player trumpet section to divide equally by halves and thirds. However, that is your task. The majority of players (especially in the south) tend to subdivide simple meter 60-40. I think this is caused primarily by the counting system of “one-and-two- and.” A person naturally says “one and” in approximately 2 60-40 subdivision; then, when he adds his southern accent to the counting, it comes out 70-30. The “one-tah-teeh-tah” system is far superior to the “one-ch-and-uh” for teaching correct subdivision in simple meter because the syllables ave better vocal punctua- tion. 1 also prefer the “one-la-lee” system for compound meter.* Exercise Have the band play or sing eighth notes in fourfour time. You will notice that the notes on the beats will generally be correct, but the notes on the second half progres sively “get off” as the measure continues, Then the notes regroup on the downbeat of the second measure, repeating the whole process. Visually, it would look like this: PIO ey ‘The last half of the last beat is always the poorest; che last half of the firt beat the best. - ‘if you are noc aware of this system (used in most colleges), it can be found in McHose & Tibbs’ Sight ‘Singing Menusl published by F.S, Croft snd Company. 3334 Have sections of the band work with the metronome. Even better, have them sing in correct subdivision, Faulty subdivision is simple to correct and devastating if left uncorrected. You see, Incorrect subdivision causes micro- or mini-swrong {moiési,In other words, a player with poor subdivision plays wrong notes without being aware of it.SOLUTION V Twentieth-Century Percussion Techniques in Performance and Pedagogy ‘The twentieth century is the percussion century and understandably so. The percussion section finally became a full choir instead of an appendage in the or- chestra early in the century, but not in the band until about 1950-1960. This late catching up caught the majority of bands by complete surprise as to equipment and players. By 1970 certain areas of the United States had caught up in both, and other areas were just about as they were in 1950 (one bass drum, two snares, 18 field drums, one pair of very small crash cymbals and a short ninth grader who ‘owns a pair of 2B sticks and 2 NARD button). Equipment shortage can be remedied easily, but player shortage is another mat- ter. Even now there is an acute shortage of players of the mallet instruments, so let's discuss pedagogy first. The basic pedagogical mistake made is letting the percussion players stay on the same instrument the entire year. Instruments should be rotated among all the players. Keeping each player on what he plays best at a given time is to deprive him of his education and future. I have always felt that a high school student who plays bass drum only for nine months and is happy to do so must be mentally retarded. I wouldn't say such 2 thing if 1 didn’t know that percussionists become excited about music and become the biggest band enthusiasts when allowed to become percussionists instead of drummers. Give them the opportunity they deserve. Almost all teachers know the technique of the instruments of indefinite pitch and timpani, so let me limit this to mallet technique PEDAGOGY The problem with teaching mallets is the same problem one finds in college secondary piano—students can be taught to memorize but not to read. Why can. the mallet players not read, and can they be taught to read? You bet they can! A pianist or mallet player of one to five years’ experience cannot read because he has to look at the keyboard to see where he is, and looking at music and a key- board at the same time is a physical impossibility. Consequently, the player who tries to look at both loses his place in the music when he looks at the keyboard, then loses his place on the keyboard when he glances back to the music, and in the process his inner ear has made him dizzy from the exchange. 3536 ‘There is obviously only one solution: The player's eyes must stay on the music, If this is the solution. and itis. then from the very beginning, all practice must be done with eyes off the keyboard. Dr. J. C. Combs has done much research in this matter and has come up with very interesting results, In my opinion, Dr. Combs’ doctoral dissertation* is the ‘most important work written on the teaching of mallet playing. ‘Through various experiments, he proved that the sense of kinesthesis is more accurate than eye sense. The kinesthetic sense is muscle sense like that used by basketball players, golfers, etc., for accuracy. Any non-tactal instrument has to be pled by the employment of this sense. Consequently, a mallet player must develop it, and it cannot be developed by looking at the keyboard while practicing. Dr. Combs ran several experiments one of which is most interesting. He took sgoup of students who had never played golf and gave them each one lesson from a professional in the technique of driving a golf ball. He then divided the group evenly. Each day one half of the group drove X number of golf balls in the normal manner and the other half drove the same number blindfolded. At the end of the experiment, the blindfolded group had a higher percentage of good drives than the “eye” group. This was only one of many experiments that proved the muscle sense or sense of kinesthesis in a non-tactal situation is consistently more accurate than the eye. ‘Any device that will keep the beginning student from looking at the keyboard will work, A large bib that sticks out in front has been successful. You may be able to come up with other ideas. Remember that the marimba is the “practice pad” but the xylophone is more often needed in performance. Try the “‘no look” method. I guarantee success. L wish we could convince college secondary piano teachers that this also is their problem, Do you remember when you were in college and you played a fairly dif- ficult work for your piano barrier exam? However, if they had insisted, you couldn't have sight-read 2 church hymn. PERFORMANCE TECHNIQUES, Here 1 am going to discuss what | personally want from the percussionists in my ‘own music. A few points may differ between composers but not many. Here are some general rules of thumb for rwentieth-century music, specifically my own. 1, Whenever a mallet note is written, it is to be the predominant sound heard by the audience. 2. When instruments of definite pitch (mallets) play simultaneously with instru- ments of indefinite pitch (drums), the definite pitch instruments always pre~ dominate in volume over indefinite pitch instruments. 3. The glockenspiel (sometimes called orchestral bells—the word “bells” uni- versally means chimes) is always played with metal mallets unless otherwise indicated, Remember glockenspiel and bell lyre are not the same instrument. ‘ Rentabe from the University of Oklahoma,4, Chime players are as a group very timid. You won't find one out of fifty who will play the correct volume, When he does there tends to be a different ‘weight on every note he plays in a set volume. 5, Whenever vibes are called for, it is always motor off, unless indicated other- wise, with the disks straight up and down, Disks must be straight or the sound is muffled. 6. Placement of mallets toward the front of the stage in large bands keeps play- ers from having to play so loudly. 7. Xylophone and temple blocks easily come out in the orchestra but are very difficult to hear over 2 tutti band. Place them on the outside, 8. Chimes must use two mallets to play with any rhythmic consistency in most music. 9. Suspended cymbal rolls should be done with mallets together. An opposite side, suspended-cymbal roll will always be designated if wanted, It produces a completely different sound, 10. Finger cymbals sound best struck at right angles rather than using the usual crash cymbal approach. 11, Don’t use or buy a “rock” tambourine with no head. The “pop” of the head, in combination with the jingles, is desired by the composer. 12, The “warm-up” of the gong is not really necessary (contrary to common opinion) and usually results in its sounding too loud. The composer takes into consideration its delayed sound. 13. Don’t try to play difficult bass drum parts with just one mallet. Never at- tempt a roll with the old single mallet with a head on each end. 14. A sfep << or like marking on a roll on bass drum or timpani is done with cone single hard stroke and the roll is begun at a piano. Most players incor- rectly try to roll into the drum at the sfz and then drop it to a piano. 15. If bass drum and timpani play like rhythms, don't separate them across the stage. 16. Bass drum is always played with a soft mallet in the middle of the head, Head tension should be so that little or no ring occurs. 17. Timpani are always played with hard mallets unless instructed otherwise. 18, Multiple snare drummers are not used any more unless indicated, The snare drum part is to be played by one player. Some very early things of mine were written for multiple snare players (Second Suite and Chant and Jubilo), but anything since 1963 is always conceived for one player unless otherwise stated. 19. Require your players to own their own set of sticks and mallets, ete. It will do wonders for their pride as musicians, This isn’t much to ask when other players have paid $200 to $500 for their instruments. 3738 SOLUTION VI Effective Podium Technique Tonce asked a bandmaster, after he had just returned from a contest, how his band had done. He replied, “I don’t know, I was conducting,” That statement about sums up a basic problem that many other young conductors face. The gen- tleman was not conducting, he was reading the score. One does not read a score and conduct at the same time. It’s impossible. A conductor is just what the name implies, a person who is in charge of the musical conduct that is emitted from the stage. To beat “correct” frames and cue entrances is not enough. The major por- tion of a conductor's work takes place off the podium in score study. Score study is the first step in achieving score knowledge and complete score Knowledge is imperative for the act of conducting. In speaking of effective podium technique, I will not talk about frames, how to hold the baton, etc. Hundreds of books and college courses discuss these physical aspects in depth. We will concern ourselves with the mental and psychological preparation for conducting. SCORE STUDY The greatest sin a conductor can commit is to attempt to learn a score on the podium, STEP ONE: FORMAL UNDERSTANDING ‘The first knowledge to be grasped is the structural form of the composi- tion. I am not speaking of textbook architectural form but of the actual sections of the work, of how they relate to each other, and of how they are connected and by what devices. In other words, by “‘structural form” I refer to the overall physical construction of the work. STEP TWO: ATTITUDE ‘At this point, decide the composer's intention as to the attitude of the work, Is it primarily romantic, classic, or a combination? After you know, determine whether the attitude is dramatic, clever, majestic, heroic, plaintive, lighthearted, nervous, driving, ete., or a more complex one which is perhaps a combination of several?After this is known, the devices used by the composer to attain this at- titude must be understood and the most effective manner to execute the devices. The most effective manner will vary in a small degree with different ensembles. STEP THREE: HARMONIC ANALYSIS Many conductors fall short in harmonic analysis or completely overlook it, Harmonic style dictates the type of balance and volume levels to be used. I don’t mean that each chord must be analyzed but that general harmonic understanding is imperative for interpretation. Is the work homophonic or polyphonic? Is the work primarily tertian, quintal, secundal, etc.? Are the sonorities used in progressions functional voice leading that most Americans use, or are the sonorities a result of effects to be created that are more Euro- pean in style? To explain the importance of harmonic knowledge, here are some har- monic devices, each demanding a different approach by the conductor to execute correctly. Example 13 Variations of Chord Balance as to Vertical Sonority Used is. Palchord wihe Major 2nd “This majormajor polychord (which, by the way, isthe fist chord of Schuman's George Wasbingeon Bridge and of Pete Mennin’s Canzona) does not take a strong (or as "fat") pyramid a an integrated polychord, DIVERGENTS —W.F.M, MM Integrated Palyehord (nnn (© Copyright 1970 by Southern Music Company ‘This integrated polychord takes more volume ratio between Groups IV and I than the above, EXPLANATION: If the first polychord’s balance is A, the second one will be AV In other words, che Group 1V yolume must be pester in fedation to thet of Group Tin 3940 the second example to balance because of the additional dissonance. Conversely, if Group chord, Practice at various volumes. Example 14 Pyramid and Inverse Pyramid Chords DRAMMATICO wr dem Ts. te Fi {© Copyright 1970 by Southern Music Company ‘The problem with a pyramid chord is that if it starts on a unison and builds up, the upper ‘‘stacking” of the pyramid gets louder because of the rising tes- situra. Inverse pyramids with the lower stacking (or reverse stacking) get softer because of the descent. Play the pyramid chord with the trumpets starting at the same volume on the unison note A. You will find that once the full chord is built (second half of beat four) they are completely out of balance. This is because higher notes at the same volume as lower notes come through more. To correct this, tell the players in a pyramid chord that when their notes no longer change pitch, they must start a gradual crescendo to end up in balance. The inverse pyramid chord is just the opposite. Refer to Example 5, Chap- ter. ‘These are just four harmonic techniques out of hundreds that take special con- ductor intervention in information given to the ensemble, I hope this convinces you of the importance of harmonic knowledge of the work by the conductor. STEP FOUR: RHYTHMIC ANALYSIS. This is an obvious process which needs no further comment. STEP FIVE: ACTUAL CONDUCTING WITHOUT ENSEMBLE ‘The actual physical act of conducting the score prior to the podium is a must, It is here that one gets the feeling of continuity and decides who needs to be cued, what frames need altering (or deleted), etc, Many bandmasters use a recording for this phase of their work. If this is your method, limi yourself to using the recording just once or twice and after that begin the singing of the work while conducting. Tam particularly fond of the singing method (possibly because I do so much score study on airplanes) becaiise it allows me to actually produce sound at my direction, Recordings do not help very much and can be harm- ful if used exclusively. With the recording one is not conducting but follow-ing; and, if used repeatedly one will find himself taking the recording’s inter- pretation, thus cheating himself of the one element that distinguishes himself ‘as conductor from the usual rank and file. STEP SIX: THE PODIUM At this point one should be ready to begin the podium work, and only a few minor, but helpful elements can be alluded to here. ‘The exact tempo to be used, and I say “exact,” can only be determined on the podium. Music is like water, it seeks its own level. By that ] mean that the marked tempo may not be the best, for example, the Beethoven symphonies. Composers are notorious for writing in wrong metronome markings. Getting 10 live in both worlds has made this obvious to me. A tempo at one’s writing desk is very seldom the same on the podium. Before I publish a work I usually conduct it in concert twenty or thirty times before finalizing the tempi, and Fend up changing sixty percent of them, One tempo is not always the best for every band or orchestra. This is par- ticularly true with young ensembles. WARNING: Before changing a tempo make sure you are right. Very few changes will exceed eight counts one way or another. It is on the podium that you cut out cues not necessary and add a few that earlier seemed unnecessary The podium work solidifies knowledge already attained. One should be able to work most compositions without a score. One does not work from a score or conduct concerts from scores, The score should only provide mo- mentary reference, Conduct your orchestra or band, not your score. A cue given with one’s head in the score is a useless cue, REHEARSAL MANNERS AND PROCEDURES, 1, Organization of rehearsal time is imperative, Wasted time will ruin you and give rise to laxity among the players. 2. Don’t stop unless you have a correction plus the information to make the correction. 3. If you make a mistake and have to stop, admit it! Nothing turns a group off quicker than the conductor's using his “error stop” to “play like” he is cor recting something else, Everyone knows, so be honest. 4. Loss of temper unless completely justified is inexcusable. A well-bred person can control himself and still get the work done. The most ridiculous myth still around today is that the uglier one is to the ensemble, the better the rehearsal—ridiculous! 5. Use names. Don't refer to players as “son” or “bass drummer.” 6. Don’t spend twenty minutes with two to four players with whom you can work outside rehearsal time. 4142 CUING AND THE LEFT HAND Incorrect left hand usage seems to have become prevalent with band conductors, ‘more so than with the conductors of other ensembles. I don’t know how it got started, but once it did it was passed on to each generation by imitation. When the left hand is raised, it is a signal to the performers that the conductor is about to speak to them during the performance. The left hand is communica- tion. It says a cue is coming up, a different volume is desired, a change of nuance is imminent, etc. If the left hand is alway’s raised, its ability to communicate has been destroyed by its constant crying of “wolf.” ‘The conductor who mirrors the frames with the left hand can never scold his band for not seeing cues or volume changes, for their reflexes have been dulled The left hand may be included in parts of the frame but never the entire frame. The left hand may be used on the last beat of measures and downbeats for clarity of attack and tempo, especially in slow sections. In cuing, the left hand is also used but so are the baton, eyes and head. The part of the body used isn’t as important as the preparation of the cue. Physical prepara- tion combined with eye contact is imperative prior to the actual cue in almost all instances, When cuing with the eyes the preparation is done with the eyebrows. ‘There are some instances where a cue may be given without eye contact, but they are rare. I sometimes will cue the first violin on the left while facing the celli on the right, but never without a preparation and only when I would have to turn immediately back to the celli. | never do this with a band because I have no single section of instruments that sits from the pédium to the last row as in the orchestra. The ability to cue effectively is one of the most difficult techniques to learn, but it will improve your rehearsals and concerts immensely. They will improve because it gives the ensemble a sense of security in their personal playing and secu- rity in their awareness of the conductor's knowledge of the score. BATON AND FRAME TECHNIQUE Many textbooks give detailed explanations about the physical techniques of the baton, so there is no need to discuss this aspect. In the first place, a conductor's physical build and personality affects all of the podium movements and cannot be illustrated by a textbookidiagram. ‘The frame is a peculiar problem. I have seen very few diagrams that are actually correct since all beats take place in front of the conductor in primarily the same spot, whereas diagrams show the beats at different points where they do not ac- tually occur, It is the preparation that occurs at different points, not the beat. To always stay in a set frame is ridiculous. A good conductor knows when frame deviation enhances interpretation, and this cannot be taught. Variation of frame size is most important for different volume levels and dif ferent compositional texture. For example, how many times have you seen a con- ductor whose forte frame is the same size as his piano frame? Then he wonders why the band will not respond to his left hand. As to texture, the “Farandole”from Bizet’s L’Arlesienne Suite No. 2 takes a much smaller “two” frame in its ff than the opening of Beethoven's Fidelio. Your musicality decides this. ‘A frame variation that I have found most effective is the circle. I have found that a tempo (that is a bit too slow or slowing and vice versa) cannot be changed ina frame. If you wish to speed up or slow down a tempo, go into a circle with the beats at the bottom. You will get the entire band’s attention after four to six of these beats (because they think you are lost), then move the tempo where you ‘want it, Then, when the tempo is acceptable, go back to the frame on the next downbeat. If you try to change the tempo on a frame, only half the group will notice, leaving a real mess for two or three measures. Try this device. It really works. In fact, it is the only method of changing a tempo while playing in a non- change section that I find will work, The band is a mirror of the conductor. An ensemble will reflect exactly your movements, facial expressions and general countenance, Do not expect more or less. One last comment: Try to stay as thin or trim physically as possible. An over- weight conductor cannot keep from looking clumsy. I don’t want to offend any- ‘one, but this is just an honest fact. How many fat conductors do you know who are effective? I’m sure there are some—I know a couple—but look how much more effective they could be if they were normal weight. Obesity affects body move~ ments in a comical manner, and conducting is expressive body movement. Body movement must be natural and unaffected. A choreographed podium style not only distracts but looks absurd. The secret is to not try for any particular movement but let it occur as a result of your physical make-up and personality. Movements cannot be faked; they must be honest. It all boils down to the fact that effective podium technique (if you have normal coordination) is a result of score knowledge and personal musicality extending to one’s physical self, rather than a learned set of physical skills previously prepared for later execution. 4344 SQTTITION VIT Interpretation of Twentieth-Century Band Music No matter how many times one hears a composition by phonograph record or by live performance, the composition doesn’t truly belong physically, mentally and spiritually to him until he participates in its re-creation, ‘The conductor holds the greatest responsibility to the creator in this act of re-creation (interpretation). He alone receives the ultimate experience from its re- creation, One would think that the greatest experience of re-creation is reserved for the composer, but this is not the case because the composer has heard his work “in perfection" at the moment of creation, and no re-creation will ever equal it. ‘The communication of a work that is re-created (notice I didn’t say performed) is greatest from composer to conductor, then to a lesser degree to performer, and even less to the listener. In a performance that is a re-creation, the attrition rate of communication is so high from composer to listener at best, that in a performance less than a re-creation, there can be almost no communication at all to the listener, To raise the ratio of communication (or “appreciation,” if you like) for the listener must be the primary objective of the conductor. I must say again: It is the task of the conductor to re-create the music that be conducts. This heavy responsibility of the conductor must be constantly on his mind. Since re-creation is the first responsibility of the conductor, our discussion here must delve into the means or processes of re-creating. Of course, it is essential that the conductor understand the music of the com- poser, but what is understanding? Too many young conductors think that “‘under- standing” a work is knowing the tempi, meter changes and volumes, Though important, these are just the first baby steps in knowing a work or composer. ‘The most important step in re-creation is to understand the attitude of that particular work. Discovering the attitude holds precedence over all other tasks. In the last few years I have seen a strange development in states with rated festivals, that is, that band technique, good pitch, good balance, ete., are the points that are rated. Whether a work is re-created has little or nothing to do with a first division rating. I foresee that if this trend continues, a band will be able to go to a contest, and if it has immaculate pitch, perfect balance and impeccable subdivision, it can play the composition backwards and get a first division rating. I am not say~ ing that pitch, balance and subdivision are not important, but I am saying that ifthe attitude of the composition is not present, nothing is gained and everything is lost, especially the musical experience that is to be gained by the players, not to speak of the audience. Let’s look into the “attitude” of a work or composer. Attitude is the absolute key to interpretation, Incorrect attitude can destroy a work. In re-creation the first and most important step for the conductor is to assume the attitude of the composer at his moment of creation, The propaganda that the great thing about orchestrated music, as opposed to tape or electronic music, is that it is always dif- ferent at each performance is untrue. Believe me, the composer does not want his work to be different at each performance. ‘Many people have asked me how it affects 2 composer to hear his musie played poorly, When they ask this question, they mean “played poorly” in the technical sense, What really bothers a composer isn’t poor technical performance but is, rather, a “Wwrong-attitude” performance. In a poor technical performance, the composer realizes that the audience knows there is a problem on stage; however, a “wrong-attitude”’ performance (though technically competent) is absolutely shat- tering to the composer since it is not his composition coming off the stage, but on- ly his “black dots on white paper.” The audience never knows that this is not his composition. For the composer that is most frustrating! The attitude of the music is usually obvious if the conductor possesses any degree of repertoire. To a conductor with average experience, the attitude of a composer is evident from dynamic markings alone (not to speak of the music). 1 always think of John Paynter's remark: "They pay a clinician X number of dollars to come in, and ninety percent of what he must say is written on the parts.” I could paraphrase this by saying that most of the attitude missed by young conductors is written in the score, When a composer writes an sffzp in tutti band and the group does a powder puff kiss, the composer has an almost uncontrollable urge to run up and ask, “Have you ever listened to a Mahler symphony?” or “Do you own a record player? If so, is it in your home or office?” ete, ete. If a band is not mature enough to achieve the correct effects without passing the point where sound, pitch and balance are destroyed, then the band is playing music beyond its ability. The most incorrect criterion for choosing music for state contest lists or a program for a specific band is to look only at the “finger tech- nique.” When music is chosen and adjudicated on the difficulty of “finger tech- nique,” we are majoring on the minor and minoring on the major. The interpretation of compositional devices for re-creating attitude does not vary much among composers within the same “school of composition,” and it varies even less among the works of a single composer. Consequently, the know- ledge of the different schools of compositional practice is imperative. In all written music there are two major elements, classicism and romanticism. All music contains both of these elements in a varying ratio to each other. At one point in history classicism rose to such 2 high proportion that the period was called a classical period. The same happened with romanticism. A general knowl- edge of the two basic and major elements of music is necessary. Al conductors understand (or should) the difference in interpretation between music of The Classical period and music of The Romantic period, but tend to confuse these elements when working with twentieth-century literature, Nearly 4546 all twentieth-century music is classical or romantic in varying degrees*, though there are experimental works that are neither. When a twentieth-century romantic band work 1s done in a classical manner, the result is disastrous. The reverse (a romantic interpretation of a classical work) is not quite so disastrous and doesn't seem to happen as often, GENERAL INTERPRETATION DIFFERENCES Classicion Romanticism 1, Few variations of tempi, 1, Many variations of tempi. Full of rallen- tandos and accelerandos. The varying of tempi in unmarked measures for dra matic effect. 2. Dynamic levels more constant. 2, Faster variants of dynamic levels plus constant use of polyéynamies. Constant vse of dramatic markings such as s/f 3. More concern with form andma- 3. Effect upon listener most important. If nipulation of idess than emotional _effects are overlooked or misunderstood, effect, The formal ingenuities must _ the work loses all meaning. The under bbe understood for correct balance __standing of the effects comes only through and “the putting together of the analysis of the work and understanding of work. the devices being used. 4. Less dynamic range. 4. Mote dynamic range. I could list others, but I think the point is made. These interpretative differences must be followed in twentieth-century. band music (especially in the serious works from 1940 to the present). In the following chart I have tried to show which twentieth-century wind com- posers show a predominance of classicism or romanticism (referred to as twentieth- century Classicists or twentieth-century Romantics, respectively), Many works are neither. A general combination of both is referred to here as “varying degree” composition and their music should be done with a varying degree between the two. The “varying degree” music doesn’t present the problems of the two others since most bandmasters seem to be “varying degree” conductors (leaning toward the classical interpretation). At the top of each list of the wind composers belonging in various categories, I have pointed out important models to use. Do not approach every composer as a separate problem of interpretation, since his attitudes and styles can usually be traced to a single source. In other words, if you wish to know the interpretation of the music of Clifton Williams, John Barnes Chance, Vittorio Giannini, Alfred “if you ae unsure ofthe characteristic of classic and romanticim or the dfferenecs between the to, ood sources of help are avaiable, For short thumbnail analysis, 1 suggest the Joseph Machlis book, Intro” ‘ction to Contemporary Music, published by W.W. Nerton, page 6.Reed or myself, learn the music of Howard Hanson and you have it. If you choose as a model the most romantic or the most classical of the twentieth-century wind composers, you gain the greatest amount of interpretative knowledge the easiest and best way. The list was taken primarily from the Texas U. I. L. Contest list of 1971-1974. ‘This list was chosen since it is used by the greatest number of other states. I have chosen only those twentieth-century wind composers who have two or more compositions listed. The division of composers is my own opinion. DIVISION OF COMPOSERS ‘Twentieth-Century Composers from the Texas U, I. L. List ‘with more than one listing from Grades Il, IV&V (Three Europeans added") Primarily Classcises Primarily Romanticits Persicherti, Vincent—use for model Hanson, Howard—use for model Carter, Charles (Chance, Jobn Barnes Copland, Aaron Creston, Paul Jacob, Gordon Giannini, Vittorio Kirk, Theron Grainger, Percy Latham, William (late works romantic) *Husa, Karel White, Donald MeBeth, Francis Nelhybel, Vaclav Nixon, Roger Orff, Carl *Penderecky, Kraysttof Reed, Alfred Reed, H. Owen, Smith, Claude Vaughan Williams, Ralph Williams, Clifton Varying Degree—Classical and Romentic Dello Joio, Norman Giovannini, Caesar Gould, Morton Grundmann, Clare Holst, Gustave Jeger, Rober Whear, Paul T hope the preceding information has illustrated vividly the totally different concepts of compositional intent, Pethaps another point that needs to be made is that, in dealing with the romanticists there isa difference in style between Ameri- cans and Europeans. There are generally two distinct stylistic differences between 47£ : [ 1 i romanticists in compositional techniques: one, composition that progresses, the other, composition of effects. In other words, twentieth-century wind music by sarily superior to the other, but without understanding that the differences exist, the interpretation (particularly of the Europeans) can be lost. Most American romanticists still deal with progression of vertical sonorities in the traditional sense of voice leading. The European romanticists, on the other hand, are primarily concerned with the effects that the devices (pyramids, aleatory harmony, ostinato, etc.) create. Therefore, romantic interpretation must be applied in its most extreme when performing the Europeans, ‘The compositional devices of Penderecky, Husa and Nelhybel must be com- pletely understood by the conductor before they can become effective. As you well know, they do not “come off” when left to the players. Oddly enough, the Europeans are usually performed better than the Americans because of this. The American romanticists (not all, because Erb will need European interpretation), being a bit more conventional, will tend to receive more classical interpretation, It seems the more obvious the romantic device the less itis usually done. The days. when a “band director” can just beat the frames are long gone. There is neither the space nor the need to get into each separate composer's style. If you know Howard Hanson's Fifth Symphony or Lament of Beowulf, then you know how to perform my markings and those of Clifton Williams, John Barnes Chance and Tommy Fry. If you know the Dies hae of Penderecky, then you understand the attitude of Husa’s Apotheosis (and 1 could say here, vice versa). ‘The point about interpretation that I am making is that once you understand the “school,” you have most of the individual composers’ style. I would like to close this with a few words to the young wind conductor. You must continually listen to and study the literature (orchestral, choral, chamber, etc). If you don’t you will end up as a technician rather than a musician. There is no such thing as a band conductor, orchestra conductor or choir conductor. There are only conductors. If you wish to limit your musical horizons to Black Horse Troop and spend the majority of your “off duty” hours working for a local civic club, you will cheat your students and yourself of the musical experiences that lift one above a mundane existence. You will miss the excitement of the begin- ning of a new serious medium—The Wind Symphony.