Crafting a Purposeful Warm-Up

Don’t Just Warm-Up: Build Up

with Bruce Pearson, Clinician

The 67th Annual Midwest Clinic

International Band and Orchestra Conference
Chicago, Illinois
Thursday, December 19, 2013
1:30pm
 Bruce Pearson is a world-renowned music educator, composer,
and author. He co-authored, with Ryan Nowlin,
the Tradition of Excellence Comprehensive Band Method and
Teaching Band with Excellence: A Comprehensive Curricular,
Pedagogical, and Administrative Resource.
He is the author of the Standard of Excellence Comprehensive
Band Method and Best In Class Comprehensive Band Method.
He also co-authored the Standard of Excellence Jazz Ensemble
Method and the Standard of Excellence Advanced Jazz
Ensemble Method with Dean Sorenson.
In addition to his method books, Dr. Pearson is well known as a
composer of many widely-performed compositions for concert
band and jazz ensemble. He has led clinics in all fifty of the United
States and has been guest conductor and clinician, by invitation,
of countries throughout the Pacific Rim, the Orient, Europe, and the Canadian provinces.
Dr. Pearson has taught at the elementary, junior high, high school, and college levels, for over thirty
years. Twice nominated for the prestigious Excellence in Education Award, he was recognized as
“most outstanding in the field of music” for the state of Minnesota. In December, 1998, Dr. Pearson,
“in recognition of his outstanding contribution to music education,” was awarded the prestigious
Midwest International Band and Orchestra Clinic Medal of Honor. In 2001, he was awarded St. Cloud
State University’s Distinguished Service to Music Award “in appreciation for lifelong contribution to
music and music education.” In 2007, Dr. Pearson received St. Cloud State University’s “Distinguished
Alumni Award.” That same year he was recognized as the first Patron for the Maryborough
Conference in Queensland, Australia.
Dr. Pearson continues to serve as a guest lecturer, clinician, and conductor in addition to his work as
a composer, arranger, and author.

Follow Dr. Pearson on Twitter: @BrucePearsonMus

2 NN1320B
Objective
By the end of this session, you will be aware of tips and technique for crafting an effective warm-up that will develop each
band member’s and the ensemble’s performance and musicianship skills and prepare them for an effective rehearsal.
Identifying the Purpose
A. Developing Individual Skill
B. Developing Ensemble Cohesion
1. Balance
2. Blend
3. Rhythmic
4. Dynamic
C. Developing Musicianship
D. Focusing the ensemble’s attention on the rehearsal’s objectives
1. Allow the rehearsal music to be the filter that crafts the warm-up’s strategies.
2. Key orginzation—use those keys for technical focus.
3. Isolate rhythms.
4. Assessment—include elements that are the focus of assessments, which sets priorities for the next
rehearsal/warm-up.

Rehearsal Plan Based on a 50-Minute Period

Parts of Rehearsal 10 20 30 40 50
1. Warm-Up and Tuning 20%
2. Familiar Selection 10%
3. Primary Rehearsal Selections 30%
4. Secondary Rehearsal Selections
20%
5. Sight-Reading Selection 10%
6. Closer 10%

Warm-Up
A. Embouchure and Stick Control
B. Technique (Scales, Thirds, Arpeggios, Rudiments, etc.)
C. Mind
D. Listening
E. Tuning
F. Chorale
G. Concept and Activity
Crafting the Strategies
A. Developing the Individual Skill
1. Developing Consistent Tonal Energy—Breathing Exercises
a. Through the nose to relax the body.
b. Through the mouth to play.

3 NN1320B
œ #œ œ ˙ 7 œ bœ œ bœ œ #œ nœ #œ 8 œ bœ œ œ n˙
2. Creating the Balance and Blend
a. Layers

œ #œ œ ˙ œ bœ œ œ n˙
œ b œ œ b œ Brassœ # œ n œ # œ Percussion
Soprano Voices
Woodwinds
Piccolo 1st Trumpet Bells
Flute Xylophone
Oboe Snare Drum
1st Clarinet Triangle

œ #œ œ ˙ œ b œ œ œ b œ n œ œ # œ 12 œ # œ n œ # œ ˙
Cymbals SOPRANO
11 Voices
Alto
Woodwinds Brass Percussion
2nd Clarinet 2nd Trumpet Marimba
3rd Clarinet 3rd Trumpet Chimes
1st Alto Saxophone Wood Block
Tambourine
ALTO
œ #œ œ ˙ œ b œ œ œ bBrass
Tenor Voices
Woodwinds œ #œ nœ #œ ˙
œ n œ œ # œ Percussion
Alto Clarinet Horns Tenor Drum
2nd Alto Saxophone 1st Trombone Tom-Tom
Tenor Saxophone 2nd Trombone
TENOR
nœ œ œ #˙ Bass Voices15
Woodwinds
œ # œ n Brass
œ œ b œ n œ œPercussion
œ w 16

Bass Clarinet Baritone/Euphonium Timpani

Bassoon 3rd Trombone Bass Drum
Baritone Saxophone Tuba BASS

nœ œ œ #˙ œ #œ nœ œ bœ nœ œ œ
w
b. Dynamics—maintaining the ensemble’s tone

Dynamic Control
œ œ œ .
& b c ww
div.

œ œ œ . ww ww ww
D)
p f p
œ œ. œ œ.

W64CL

4 NN1320B
 3. Embouchure and Stick Control

Mix and match exercises 1A, 2A, and 3A in any combination.

1A. , , , U
& 44 œ œ #œ œ “œ œ œ œ œ
œ œ w œ œ w bœ œ bw “œ w
,œL œL œL œL ,œR œR œR œR , Œ UÓU
1A.
4
2A. R R R R L L L L L

ã4 44œœ œœ œ œœœ œœœ œ ‘œ œ œ œ œ œ œ ‘ œ œ œ b œ b œ‘ œ œ œœ œ œ w œ œ œ œ œ œ œ

& #œ œ #œ ˙ bœ “œ œ œ b˙ “œ œ u œ ˙
S.D.

œ œ œ ˙ œ
B.D.

œ œ
R R R R R ,R R R L L L L, L L L L R R R R R R R R L, L L L L L L L R R R R R U
2 U
3A.
2A.
4 œ œ œœœ œœ œ œ œ œ œ# œ œ œ«œ œ œ œ# œœ œ œ œ œ “œ œœ b œœœœœœœœ œb œ œœœ œ œ œ œ œ œœ œ œœ œ œœœ œœ œ Œ
L L L L L L L L

S.D.
B.D. ã44 4œœ œœœœœœ œœ œœ œœ œœ
&
œ œ œ œ œ ˙œ œœ œ œ œ œ œ˙ œb œ œ œ œ œ œ b ˙œ “œœ œœ œ œœ œ ˙˙
u
3A.
2 U
œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œ˙ Œ
RLRLRRRR LRLRL L L L RLRLRRRR LRLRL L L L RLRLRRRR LRLRL
4
S.D.
B.D. ã4 œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ «
u

4. Technique—Maintaining the Sound

5 NN1320B
 C Major Technique Study (Concert B b Major)
A) B) C)

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
,
Also play with other articulations:

&c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ ˙˙
œ œ œ œ

2
L R L R L R L R L R L R L R L R L L

æ
R L R L R L R L R L R L R L R L R R

S.D.
B.D. ã c œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œ œ œœ œœ œ˙ œ «

&œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙
œ œ œ œ œ œ œ œ œ œ œ

2
L R L R L R L R L R L R L R L R L L

æ
R L R L R L R L R L R L R L R L R R

S.D.
B.D. ã œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œ œ œœ œœ œ˙ œ «

S.D.
B.D.

S.D.
B.D.

6 NN1320B
 S.D.
B.D.

Arpeggios [I–IV–I–V7–I] and Chords [I–IV–I–V7–I]

( c 17-Stroke or C 9-Stroke Roll and Paradiddle Study)

S.D.
B.D.

5. Articulation and Technique Etude #2 A) B) C)

œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ.
Basic q. = 80; Advanced q. = 92; Mastery q. = 120
œ œ œ œ
& 68 œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ.

S.D.
B.D.

7 NN1320B
 œ œ bœ œ #œ œ #œ nœ œ œ #œ œ ˙ œ bœ œ bœ œ #œ nœ #œ œ bœ œ œ n˙
B 5. cWarming-Up the Mind—Developing Mental Focus
&
a. “By the Numbers”

b
& bœ œ bœ œ #œ œ #œ nœ bœ œ #œ œ ˙
5 • Play the following notes6 of the Concert E Major7 Scale:
œ bœ œ bœ œ #œ nœ #œ œ bœ œ œ n˙
8

A 1. 1-3-5-3-1
2. 1-2-5-1
3. 6-8-1-4
bœ œ bœ œ #œ œ #œ nœ bœ œ #œ œ ˙ œ bœ œ bœ œ #œ nœ #œ œ bœ œ œ n˙
B & b. Echo drills (intervals and rhythms)
c. Dictation drills

& bœ œ bœ œ œ œ #œ nœ bœ œ #œ œ ˙ œ bœ œ œ bœ nœ œ #œ œ #œ nœ #œ ˙
10 11 12

AB. Developing Ensemble Cohesion

1. “All Together Now”

bœ œ bœ œ œ œ #œ nœ bœ œ #œ œ ˙ œ bœ œ œ bœ nœ œ #œ œ #œ nœ #œ ˙
B & • Play the following rhythm on the entire Concert E b Major Scale:
b j
& b b 44 œj ‰ Œ Ó œœ
Œ Ó
œœœ ‰ Ó œœœœ
Ó
œœœœJ
œ‰Œ
13

&
2. #“Follow
œ n œ œtheb œStick”—Developing
œ œ n œ œ # œ Eye
n œ Contact
œ œ #˙ œ #œ nœ œ bœ nœ œ œ
14 15 16

w
A

3. Developing Listening Skills—Consistency of Tonal Energy

#œ nœ œ bœ œ œ nœ œ #œ nœ œ œ #˙
a. Match and Pass That Note œ #œ nœ œ bœ nœ œ œ w
B & • note lengths and style: staccato, tenuto, marcato
• dynamic range: piano, mezzo piano, mezzo forte, forte

Match and Pass That Note 5. Dynamic Control

#c œ œ œ œ .
∑ ∑ ∑ & b c ww
div.
& œ œ œ œ . ww ww ww
p f p

8 NN1320B
 b. Play a chorale without direction

C Major Chorale (Concert B b ) William Croft (1678–1727)

English Composer
arr. Bruce Pearson

c œ œ œ œ œ œ œ . œ œ œ œ œ 6 œ œ œ 7 œ œ œ œ 8 U̇.
& œ œ œ œ œ #œ ˙ œ
1 2 3 4 5

F
U
&c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œj # œ œ œ œ œ œ ˙ .
œ œ ˙.
A

F
U
c œ œ
T & œ œœœœ œ œœœ œ
œ˙ ˙. œ œ œ œ œ œ œ œ œ œ œ ˙.
F
U
&c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙.
œ
B

F œ œ ˙ . œ

4. Tuning
a. Vertical
U
4 œ 1 œ œ 2 œ œ œ œ 3 œ œ 4 ˙. 5 œ
rit.
b
& 4 œœ œœ œ œœ œ œ œ œ œ œ œ œ œœ œ œ ˙ ˙.
6 7 8 9

S
b. Horizontal

P F P f
c. Pitch tendencies, for example:

U
b 4 notes are naturally out of tune on most clarinets:
rit.
& 4 œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. œ œ œ œ œ
The following
A
œ œ #œ œ œ œ œ œ œ œ œ œ œ ˙.
P
Tendency to be sharp:
F P Tendency to be flat:
f
w w w # w w
4 w w # w w writ.# w U
T & &b 4 œw nœw œ wœ œ œ œ œ œ ˙ . œ œ œ œ œ œ œ& b w n wœ w˙ # w œ œ œ œ ˙ .
œ
w #w œ œw œb œ œœ œ
P F P f
note onUthe
b 4
Using an electronic tuner, check each note on your clarinet and mark the pitch tendency of each rit.
4 œon theœ inside
B & chart œ backœcover using œ a + for sharp andœa – for flat. œ œ
œ œ œ œ œ œ œ œ ˙. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙.
fingering

P F P f

9 NN1320B
 C Major Studies (Concert B b Major)
C. 7.Developing
Interval and Tuning Etude
˙
Musicianship
˙ ˙
˙ ˙˙
Largo

&c ˙ ˙
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w
1. div.
Musical Concepts

˙w ˙w ˙ ˙w ˙ ˙w ˙w ˙w ˙w ww
Musicianship Tip: The most important note in each phrase is indicated by an “X.” Crescendo all notes leading to the
8. Melodious Etude most important note within each phrase. Decrescendo leading away from that note.

& 44 . œ. œ œ. œ œ.
Andante
j œ œ œStudies œ(Concert b œ
J J ˙
2 3X 4

œ œ œ C Major œ B Major) J
p and Tuning Etude F
7.5Interval U
œ
& œ ˙ œ ˙ œ ˙œ ˙ œ œ˙ ˙ œ˙ ˙
Largo
œ
X
˙ j ˙ ˙
6 7 8 9

& cp ˙ œ. ˙ œ ˙ ˙. ˙ ˙œ ˙ w w
div.

˙ ˙ ˙
˙w ˙ ˙w ˙w P ˙w ˙w ˙w ˙w π ww
9. Londonderry Air Irish Folk Song
j
8. Melodious Etude
44 Œ
Adagio con rubato
j œ œ
X

& œ œ œ . œœ œ˙ œ œ
& 4 . œ- œjœ- œ œ- œ . œ œ œœ œ œ œ œ œœ . œ œJ œ-œ . œ- œ- Jœ œ .
2 3X 4
Andante 2 3X 4

œ p œ J
p F
UX 9j
j
5

& œ
& ˙œ œ œ œ œ- œ-œ œ- œœ . œ œœ œ œœ œ ˙ œ œ œ. œ œjœ- ˙œ-. œ- œ . œ œ œ œ . œ
5 6 7X 8 X
6 7 8

œ œ w
p U U 10 U P π
j
‰ œ Air œ . œ .
œ œ œ œ œ A œ œ thisœ melody in his Jœ œIrishœ Folk
9 X

œ œcomposer
11 X

&Londonderry œ ustralian œ Song

12

˙ J œ from
œ œ œ
Percy Grainger used
9.
F j
&13 44 Œ
composition Irish Tune County Derry.
Adagio con rubato
j œ œ œ . œ 17œU œ œ
X

œ- œ- 14œ- œX . œœ. œ œœ œœ 15 œ œ‰ œ œ œ16 X œ- œ- œ-

2 3X 4

œ
rit.

&˙ pœ œ- œ- œ- J œ œ œ j œ œ
œ7 X œ- œ- œ- œ œ œ œ œ w
œ- - Xπ
j j
5

&˙ œ œ œ
6 8

œ . œ œ œ . œ (1483–1546)
10. Choraleœ—œ-Band œ- œ-Arrangement œ œ œ œ œ œ œ- œ- Martin Luther
-
œ œ. œ
U U U 10
Maestoso German Composer

j œ œ . 2œ œ U 11 X 3
9 arr.X Ryan Nowlin
1‰
œ œ œ œ œ œ . œ œUœ œ .
div.

& œ . œ œ œ œ œ œ œ
121.

c
& ˙ œ . F œ œœ œ œ J œ œ œ œ œ œ œ œ œ J œ.
œ œ œ œ œ œœ œœ œ œ œœ œ œœ œ œ
4

œ
F œ œ
17U
rit.
œ. œ œ œ œ ‰ f F
13

œ œ
14 X 16 X

&5 ˙2. œ œ œ J œ j œ
15

œ -U - - œ7œ œ - -œ œ œ œ œ œ w
œ œ
&œ œ œ œœ œœ œœ # œœ ˙. - œœ œœ œ œœ - - ˙ .. π œœ
6 8 9

œ œ œ— œœBandœ Arrangement œ ˙. œ œ ˙
10. Chorale P
Martin Luther (1483–1546)

f p
Maestoso German Composer

U U U
div. rit. arr. Ryan Nowlin
œ œ œ
& œ œ œ œ. œ œ œ ˙ œ œ œœ œ œœ œ œœ ˙ . œ œ œœ œ œœœ œ œ œ œ œ œ ..
. œ œ œ œ œ œ
10 1.

c œ œ . œ œ œ œ œ œ œ
1 11 122 13 3 14 4 15

œ ˙ .œ œ bœœ œ œœ œ # ˙ . œœ “ œ œ œ œ œœ œ œ œ œœ œ
F F œ œ
f Ff
U
œœ œœ œ œœ ˙ ..
5 2.

&œ œ œ œœ œœ œœ # œœ ˙. œœ
6 7 8 9

œ œ œ œ œ œ œ ˙. œ œ ˙
P
f p
U
10 rit. NN1320B

& œœ œœ œœ œœ œ ˙ . œ œ œ œ œ œœ
10

œ œ œ œ œ ˙.
11 12 13 14 15

˙. œ œ œ bœ œ œ #˙. œ “ œ œ œ œ œ œœ œ œœ
 Largo

b b c and Tuning Etude

& b Largo ˙w ˙ ˙w
˙ ˙ ˙ ˙
div.

˙w ˙ ˙w ˙
7. Interval
˙w ˙w ˙w ww
bb c div. ˙ ˙ ˙ ˙
& b ˙w ˙ ˙w ˙ w ˙ Tip:˙w The note
˙Musicianship ˙w a syncopated˙note
preceding ˙w shorter andww
w should be played slightly
8. Melodious Etude softer than the syncopated note. The syncopated note should be played full
length and slightly louder than the notes surrounding it.

bb 2 œ œ œ œ œ œ œj œ œj œ œ œ
Modéré [Moderately]
j j
Musicianship Tip: The note preceding a syncopated note should be played shorter and slightly

b
& 4Modéré œ . œ œ 2 œJ
œ
j [Moderately] œ œ
1 2 3 softer than the4syncopated note. The
5 syncopated note should6be played full
8. Melodious Etude
œ J œ œ œ œ œ œ
b 2 œ œ œ œ œ œ œj œ œj œ œ œ
length and slightly louder than the notes surrounding it.

& b b 4 Fj stacc.œ . œ œ œ œJ œ œ pj cresc. j

1 3 4 5 6

œ J œ œœ œ œ œ
bb b jF stacc. j 8 j j œ œ œ œ œ œ j œ pj 13cresc.
7

&7 œ œ œ œ œ œ œ œ œ 10 œ œ œ œ
9 10 11 12

bb j œ 13 œ .
b j8 j j œ œ œ œ j
& œ œ œ œ œ œ œ œ œ œ œ f œ œ œ j F
11

œ œ
9 12

œ œ.
9. Ecossaise f
In addition to his nine famous symphonies, Beethoven F
Ludwig van Beethoven (1770–1827)
German Composer
bb 2 œ 1 œ
wrote many charming dances, like this ecossaise (Scottish

j
Allegro
b j likeœ this ecossaise
œ (Scottish œ
In addition to 2his nine famous symphonies,3Beethoven wrote
& 4Allegro
œ œ manyœ charming œ œ œ
J 3 œ
dance).
œ œ # German
œ
4
9. Ecossaise
œ 2œ
dances, dance). Ludwig van Beethoven (1770–1827)

bb b 2F stacc. j
Composer

&5 4 œ œ œ œ œ œ œj œ œ œ œ œ œ œ #œ œf œ
1 4

J7
b F stacc. j œ j ‰ ‰f ..
&5 b b œ œ œ œ
J 7œ œ œ
œ
6 8

œ 6œ œ
b j œ j ‰ ‰ ..
&b b œ œ œ œ œ œ œ œ
8

œ œ 10 J œ
b b b .. œ œ œ œ œ œ œ œ
& œ œ 9œ œ œ œ œ œ œ œ œ œ œ œ œ œ
9 11 12

bb b .. f œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&13 œ œ œ œ
10 11 12

b j j 14 œ œ
&13 b b œ f œ œ œ œ œ œ œ j ‰ ‰ ..
15 16

J J œ
b j œ j œ œ j ..
&b b œ œ œ œ œ œ œ œ ‰ ‰
14 15 16

J J
Moderato
Other10. jfor your jNowlin
Chorale
div. — Band Arrangement Netherlands Hymn
b b Moderato
concepts to consider
j
warm-up:
b
& Chorale 3 œ œ . œ œ
4 div. — Band Arrangement œ œ œ œ . œ œ œ œ .
5 arr. Ryan
œ œ
œ
1 2 3 4

œ
œœ 1 œœ .. œœj œœ 2 œ œœ œœ 3 ˙œ . RyanjNowlin
2. Theory
a. b Intervals j œ 4 œ œ œœ 5 ˙œarr. œœ
10.
3
Netherlands Hymn

& 4 b b p œ œ œ œ œ p cresc. . œ
œ œ œ œ P
˙ œ œ œ œ ˙ œ
œ œj. œ U j
p
b b œ . and œTuningœ Etude j œ 8 P œ p 10 œ cresc.œ œ
&6 bLargo œ . œ ˙ œ œ . œ
6

j j œœ 8U˙
7 9
7. Interval
˙ œ 9 œ. œ˙j œœ 10 œœ˙ œ œ
bb b œœ . n œ œ œœ 7 œ . œ ˙ ˙ ˙ . œ
& ˙
&11 c ˙œ ˙n œ ˙ œ ˙ F
˙ ˙ ˙ ˙ œ ˙ p˙˙ ˙ œ ˙ œ . ˙ œ˙ œ ˙ œ˙ œœ w œœ
œ œ
div.

˙
bb b ˙wœ . œj ˙wœ 12 F ˙w ˙w p j ˙w14
œ œ œ .
˙jw 15 ˙w
j
16ww
U
&11 ˙ œ œ œ œ œ . œ œ œ œ œ. œ ˙
13

bb b œ . œj œ œ 12 œ œ œ 13 œ . œœj œœ œ 14 œœ . œ j œ 15 œ œ . œ-j16 U˙
& Andante P œ œ œ2 pœ œcresc. . œ3 X œ œ F œ 4 œ . œ p˙
4 ˙ œ
j œ œ œœ œ œ œ . œœ œ œ œ. œ J œ. œ œ œœ œœ. . œ- ˙˙
& b. 4 Chords. œ œ J J p
œP œ p cresc. F
p F
UX
& œTonicœChordœ œ œ œ œSubdominant œ œ ˙ j
3.5C Major Balance and 6 Tuning Study 7 8 9

œ
Uœ . Dominant˙ .Chord œ U w Tonic
p4 Ó U U
ÓP Ó ˙ 5˙ ˙ π 1w
Chord Chord

5˙
div.

&4 ˙ ˙ ˙˙ w ˙ ˙ ˙˙ w ˙ ˙ ww 5
w ˙
5 3 3
3 1 1
1 3

jX
& 44 Œ
Adagio con rubato
j œ œ- œ . œ œ œ NN1320B
œ œ œ œ œ œ œ
2 X

œ.
3 4

11
œ œ- œ- œ
œ - œ
- œ œ
p-
, X5 ,
4
div.
j jX
5

œ
2 6 3 4 7 6 8 7 8
 3. History
a. Timelines

Beethoven
Offenbach Pearson
Pierpont Bobrowitz
Clarke Mozart Tchaikovsky McGinty
Susato Schop Bach Sousa Watson
Handel Foster Holst Nowlin
Renaissance Baroque Classical Romantic 20th/21st Century
1500 1600 1700 1800 1900 2000

b. Short historical comments

Mozart was a child prodigy, and he traveled throughout Europe

with his father to display his talents on keyboard and violin. He
composed his first symphony at age 8 and his first opera at age 12.

c. Composer spotlights

A public figure and a lover of the arts, George Frideric Handel (1685–1759) was
another popular composer during the Baroque era. He was born in Germany near
Bach’s home town. In contrast to Bach, who stayed close to home his entire life,
Handel traveled widely and eventually settled in England. The English royalty paid
him very well, and he was greatly admired. Handel composed religious music,
orchestral and chamber works, and operas, which he conducted all over Europe. He
was very ambitious, and once even duelled with another composer over the right to
play harpsichord for an opera performance. The duel was luckily called off when the
other composer’s sword broke on Handel’s coat button. Handel’s work Music for the
Royal Fireworks from 1749 originally called for a huge ensemble of brass, woodwinds,
George Frideric Handel
timpani, and a cannon. He wrote the piece to accompany a fireworks celebration for
“Handel is the greatest composer who
the king of England. Just as the music began, the whole box of fireworks exploded by ever lived.” —Ludwig van Beethoven
(1770–1827), famous composer of the
accident. Handel’s piece, however, was a great success.
Classical period

d. Written assessments
D. Focusing the Ensemble’s Attention on the Rehearsal’s Objectives
1. Allow the rehearsal music to be the filter that crafts the warm-up’s strategies.
2. Key orginzation—use those keys for technical focus.
3. Isolate rhythms.
4. Assessment—include elements that are the focus of assessments, which sets priorities for the next
rehearsal/warm-up.

12 NN1320B
 œ #œ 2 ,3 ,5 ,7
4 œ œ œ œ œ
Chop œ Builders b œ œ œ œb œb œ œ # œ œ # œ n œ œ8 œ # œUœ ˙ œ bœ œ bœ
&2B, 4 œ3B.œ œ u Use œ thisœline˙ to accompany œ œ œ

Gps
4 6

# œ œ œ # œ “ œ œ œ
˙ , 5b œB & c 6 b ˙ ,“7 œ œ œ œ8U œ ˙œ

r
3œ
œ 2 œ1A, 2A,,and
1B,
div. œ exercises 3A inœanyœcombination.
4 œ
1A, 2A, and 3A.

& 44 w
u Mix and match

Great Warm-U
w2 , 3#5-Minute
ww ww4 Young , 5 b“ wwBand Warm-Up 6w
w w w , 7 “ ww ww 8U
1A. Sample
7 & 4
4
œb œ œ œ #œœ nœ2œ # œw œ ,b œ3 œ œ# œœ nœ˙ œ 4 w , b5 œ “ œ5 œ œ 6 b w ,“7 œ œ œ6 œ8U w
1B, 2B, 3B.
bœ œ #œ œ ˙
u Use this line to accompany 1A, 2A, and 3A.

œ b œ 4œdiv.
6 8

1 4.& 4 w and PasswThat Note # w w “ 5.wDynamicb œ œ bwœ

& div. w œ # œ œ“# wwœ n œ b œ œ
ww # œ œ ˙ œ bœ œ bœ
7

w w w
œ œ œ œ w b w
Match Control
#
A
4 Chop Builders (Concert Bb Major) , & b 44 w
bœ œ #œ œ ˙ œ&b œ 4œ4b œ ∑œ # œ n œ2∑# œ œ∑ b,œ3 œ œœ n ˙œ œ4 .. 6w ww, 7 ww 8 ww U
2A.C Major
œ œ œ ˙Note # œ œ œ œ # œ œ œ œ # œ œ # œœ nfœ œ b œ œœ œ# œ œp ˙
b œb œœ œb œb Control œ bœ œ bœ
4.&Match
4 œ and œ œ Pass œ œThat
5

5.“ Dynamic
œ p œ
u Also play with other articulations: œ
# 4 ∑ œ œ œ œ .
œ œ ˙ b œ
B & b ˙ “ œ œ ˙
∑ ∑ b 4
& 4œ. œ. œ. œ. œ œ œ œ œ. œ œ.œ œ œ œ œœ. œœ œ. . & 4 ww ww ww ww
div.
A) B) C) D)

,3 ,5 p6 ,7 f Up
œ œb Major)
3A.
4 œ œ œ
œ& b œ 4œ œœ.œœœ.b œœœ. nœœ.œC œ Major œ # œ œ œ œ œ œ # œ ˙(Concert b9œ œ œ œ bB œ 10œ œ
2 4 8

“ œ
u Also play with other articulations:

b œA & b œ œ b œ œ b ˙ “œ œ# œœ n œ œ bœœ œ # œœ ˙œ ˙
0
bœ œ #œ œ ˙ 2
11
A) B)
12
C) Warm-Up
œ œœ #œœœœ œœ˙# œœ. nœœœ œ.# œœ œ ˙œ œ œ. œ œœ.
D)

œ bœ œ œ
11

1. C Major Scale and Arpeggios (Concert Bb Major) œ

bœ œ #œ œ ˙ œ1B, 4
b&œ 2B, œ
Major Scale
C
4 div.œ b œœ n œœ œ œ , œ # œ
Major œ œ# œ œ n œ #˙œ
Warm-Up ˙ œ œ (Concert
, Arpeggios
B b Major)
œ œ œ, œ b œ œ b œ œ œ œ ,œ # œ n œœ œb œœ œ # œ œ ˙œ œ
U
˙ w œ6 8U w
œ bœ œ œ
3B.
œœ 7 œ
u Use this line to accompany 1A, 2A, and 3A.
3œ ˙ œ
4
& 4 wMajor Scale w Scale and œArpeggios œ œ œ B &
, Arpeggios
2 4 5

# ww ww “ ww ww ww U
1. C Major
4 w w ˙ b œ “ ww
2.& 4 Technique œ
œStudy œ œ œ œ œ œ œ
˙ œ œ œ œ œ œ ˙ œ œ œ œ œ œ w œ œ œ œ œ œ w ,
C Major

3 15 c
&Match and Pass That œNote
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ14 œ ˙
#4œœ n œTechnique
œ œœ œ œ œ œ
4. 5. Dynamic Control
œ œ ˙
#œ nœ œ œ #˙ 2. C œ#Major
14 16

4
13

œ b œ n œ ∑œ wœ œ œ œ ..
œ œ
&&b # 4œ nwwœ œ b œ wwœ œ n œ wwœ # œ wwn œ œ ,œ # ˙ œ #œ n
b œ
& 4 ∑ ∑
15
div.
Study (Concert B Major) A

& c œ œ œ œ œ œ œ œ œœ œ œœ
œ œ œ œ œ œ œ p œ œ œ œ œ œ
f œ œ ˙ p
u& œ œ œœ œ œ œ
#œ nœ œ œ #˙ Alsoœ play n œœœ other
œ # œœwith
œœn œœ œ
œœœ b œarticulations:
œ œ œ wœ œ œ œ # œ n œ œ b œœ œœ œ œn œœ œœœ œ œ# œœ ˙n œ˙ œ œ # ˙ œ #œ n
B &
A) B) C) D)

œ. œ. œ. œ. œ œ œ œ œ. œ œ. œ œ œ. œ œ.

&œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
A) B) C)

(Concert Bb Major)
u Also play with other articulations: œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œC Major œ œ œ Warm-Up
œ œ œ œ ˙
4 5 A) B) C)

œ and
,
5. 1. C MajorControl
Dynamic Scale and Arpeggios Match
Match œand
œ œ Pass
œ œ That
Pass œ œ œNote
That œ œ œ œ œ œ œ œ œ
Note 5. Dynamic
œ œ Uœ œ .
u Also play with other articulations:

œ œ œ œ . 4
Major Scale
œ œ ˙ œ œ # œ œ
Arpeggios

&3.& 4ww Balance

b CcMajor œ wwTuning Study
œ wwœ œand w œ œ œœ œ œ & œ wc ∑ œ œ œ∑ œ œ ∑œ œ œœ œ wœ œ . & b c ww
div. div.

œ œ œ œ . ˙ œ œ ˙w
p
œ
f p U Dominant Chord U Tonic Chord p
U U
Tonic Chord Subdominant Chord

4 Ó Ów ˙ ˙ ˙˙ ˙˙ Ów ˙ ˙˙ ww
div.

2.&C 4 3˙
5 ˙ Study
˙ ˙ w5 ,
1w ˙ ˙
5 5 1
Major Technique 3 3
1 1

&c œ œ œ œ œ œ œ œ œ œ ˙˙
3

6 œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ
4. C Major Chorale: All Grace and Thanksgiving (Concert Bb Major) Ryan Nowlin (b. 1978)

& 4œ div.
œ œ œ œ2 œ œ œ œ œ 4œ œ, 5 œ œ œ œ6 œ œ œ7 œ ,
American Composer

œ œ 8˙
& 4œ ˙˙œ œœ œ œœ œ ww œ œ˙ œ œ œœ œw
˙ œœ œœ ˙˙ œœ œœ ˙ œœ œœ ww
3

œ œœ œ w
P Ḟ Also play with other articulations:
Ṗ œ œ œ œ œ œ œ œ œḞœ œ
A) B) C)

u œ œ œ œ œ œ œ
9
, 13 U
&˙ œ œ w ˙ œœ œœ ww ˙
˙ œœ œœ ˙˙ œœ œœ ˙
10 11 12 14 15 16

œ œ w ˙˙ ww
Ṗ Ḟ P Ḟ P

F Major Warm-Up (Concert E b Major)

13 NN1320B

1. F Major Scale and Arpeggios

 Sample 5-Minute Advancing Band Warm-Up

S.D.

S.D.
B.D.

S.D.
B.D.

S.D.
B.D.

14 NN1320B
4
Arpeggios [I–IV–I–V7–I] and Chords [I–IV–I–V7–I]
( c 17-Stroke or C 9-Stroke Roll and Paradiddle Study)

S.D.
B.D.

5
5. Articulation and Technique Etude #2 A) B) C)
œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ.
Basic q. = 80; Advanced q. = 92; Mastery q. = 120
œ œ œ œ
& 68 œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ.

S.D.
B.D.

6
Interval and Tuning Etude
˙ ˙ ˙
˙ ˙˙
Largo

&c ˙ ˙
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w
div.

˙w ˙w ˙ ˙w ˙ ˙w ˙w ˙w ˙w ww

7 & 44 . œj œ œ. œ
J œ. œ
Andante
œ œ œ. œ
œ J ˙
2 3 X 4

By theœNumbers œ œ J
p F
U b
• Play the following notes of the Concert E Major Scale:

œ œ œ œ j
5

&œ œ œ œ ˙
1. 1-3-5-3-1 6 X 7 8 9

2. 1-2-5-1 œ œ. œ ˙. œ w
p
3. 6-8-1-4
P π

8 4Œ
Adagio con rubato

j jX
&
All 4Together œ œ œ- œ . œ œ œ œ
2 3X

œ. œ œ
4

œ œ œ
œ- rhythm
œ- the œ-following œ œ œ- œ- œ
Now
b
• Play
p on the entire Concert E Major Scale:
bb b 4 j ‰ Œ Ó 6 j
& 4 œ œ œ Œ jÓ œ œ œ œ 7‰X Ó œ œœœÓ œ‰Œ
œ œ œ œ jJ X
5

&˙ œ œ œ- œ- œ . œ œ œ œ œ œ œ œ œ œ- œ- œ . œ œ œ œ . œ
8

- -
U U U 10
‰ œ œ œ j œ . œ œ œ œ. œ œ
15 9 X

J œ œ œ œ œ œ œ œ œ J œ œ œ
11 X NN1320B
&
12

˙ F
13
rit.
#œ nœ œ œ #˙ œ #œ nœ œ bœ nœ 2 œ œ w jX
4
Adagio con rubato
&4 Œ j œ œ œ œ. œ œ œ œ
3X

œ- œ- œ- œ . œ œ
4

œ œ œ
œ œ œ- œ- - œ
p
j jX
5

9 & œ œ œ œ œ œ œ œ œ œ œ œ. œ
6 7 X 8

˙ œ œ œ- œ- œ . œ œ- œ- œ-
œ.
-
5. Dynamic Control
œ œ œ œ . U U U 10
b c j
div.

œ œ œ œ . & w w
& w ‰ œ wœ œ w Jœ œ wœ œ œ œœ w
. w œ œ œ œ. œ œ
9 X

J œ œ œ
11 X 12

˙ p œ œ œ
F f p
17U
rit.
œ . œ œ œ œ 15 ‰
13

œ œ
14 X 16 X

&˙ œ œ- œ- œ- J œ œ j œ œ œ
œ œ- œ- œ- œ œ œ œ- w
- π
10
10. Chorale — Band Arrangement Martin Luther (1483–1546)
German Composer
Maestoso arr. Ryan Nowlin
div.
U U
& c œœ .. œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ ..
1.

œœ œ œ œ
1 2 3 4

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
F
f F
U
œœ œ œœ ˙ ..
2.

œœ
5

&œ œ œ œœ œœ œœ # œœ ˙. œœ
6 7 8 9

œ œ œ œœ œ œ ˙. œ œ ˙
P
f p
U
rit.
œ œ œ œ œ œ œ
10

œ œ
& œ œ œ œ œ ˙. œ œ œ œ œ œœœ œ
11 12 13 14 15

œ œ œ bœ œ œ ˙.
˙.
F #˙. œ “œ œ œ œ œ œœœ
f

To all attendees: The clinician thanks you for your attendance and attention and hopes that his
suggestions will help your students make music and enjoy the music-making process.

Excerpts taken from:

Standard of Excellence, Book 3 – Conductor Score (W23F) ©1996, 2006 Neil A. Kjos Music Company
Great Warm-Ups for Young Bands (WB245) ©2000 Neil A. Kjos Music Company
Tradition of Excellence™, Book 1 (W61*) ©2010 Kjos Music Press, Neil A. Kjos Music Company, Distributor
Tradition of Excellence™: Technique & Musicianship (W64*) ©2012 Kjos Music Press, Neil A. Kjos Music Company, Distributor

Reproduced with permission 2013 for use in “Crafting a Purposeful Warm-up.”

Neil A. Kjos Music Company, 4382 Jutland Drive, San Diego, California, 92117
www.kjos.com
16 NN1320B
 Appendix: SKILL BUILDING TEACHING TIPS
A. Tone Development
1. The concept of good tone is established through the use of models—both individual and en-
semble. Play recordings of exemplary models for students. “The sound you have in your mind is
the sound you will make.”
2. Air and embouchure are the two most critical components of good tone quality for wind players.
• Good tone requires the adequate amount and speed of air.
• Good embouchures can be evaluated by being certain that students are playing the correct
pitches on their head joint (flute), mouthpiece and barrel (clarinet), mouthpiece and neck
(alto/bass clarinets and saxophones), or mouthpiece alone (brass instruments) with their
throats relaxed and open.
3. Wind players should visualize the air moving through their instruments and out the end—taking
the sound with it.
4. Whether playing loudly or softly, the air speed remains constant. Playing loudly requires more
volume (quantity) of air than does playing softly. Consistency of air speed is critical.
5. Ensemble tone is more than a composite of individual tone. Careful attention should be paid to
the “layering” of tones and tessituras. A good, basic ensemble sound requires the aural repre-
sentation of a pyramid.
6. Good ensemble tone can be achieved during crescendos and decrescendos by having the lowest
instruments make the greatest dynamic change.
7. Be sensitive to the tone color of the percussion instruments. Insist on the good production of
tone and balance from each member of the percussion section. Be familiar with the di erent
tones that can be produced by di erent sticks, mallets, and instruments. Have the percussion-
ists listen within their section and to the entire ensemble.

B. Intonation
1. The art of playing in tune requires good tone production and good listening. You canʼt tune a
poor tone—neither individual nor ensemble.
2. It is student musiciansʼ responsibility to play in tune. It is the teacher/directorʼs task to teach
them how to do it. Teach students what in-tune and out-of-tune sound like.
3. Tune only after instruments and musicians are warmed up.
4. Help students understand the pitch tendencies of their instruments.
5. Tune chords from the bass voices in root position. Have students sing the fundamental pitch
first before playing it.
6. Teach students to match sounds. Inform them as to who is playing the same pitch or line and
have them listen to it to match those pitches.
7. Good ensemble intonation is inextricably linked to good ensemble balance. Have the ensemble
play with a good pyramid of sound.
8. Tune the ensemble by having students be responsible for tuning using both the vertical and
horizontal tuning process.
9. Ask players to “tune your trio” (yourself and those on both sides), which eventually links the en-
tire ensemble.

16 NN1241B
17 NN1320B
 10.Students need to know what note of the chord they are playing and should become aware of
some standard harmonic intonation adjustments:
• Major triad - tune the third down
• Minor triad - tune the third up
• Dominant 7th - tune the seventh down
11.Teach students the e ect of dynamics (volume) on intonation.

C. Rhythmic Accuracy and Independence

1. The ensemble must feel the internal pulse (usually the subdivision of the beat). Rhythm should
have a certain physicality.
2. When playing whole notes, think in eighth notes. This will often solve the common problem of rushing.
3. Think of rests as “silent notes.” Studentsʼ minds should think of subdividing the rests also.
4. Develop rhythmic independence by a systematic process of having students play rhythm exer-
cises in the following order:
a. Unison
b. Two-part (woodwinds play one part, brass and percussion the other)
c. Two-part (assign parts between sections, i.e. flutes and clarinets, saxophones and other
low instruments, trumpets and French horns, low brass and percussion
d. Assign parts within each instrument section
e. Assign parts by having the person next to them play a di erent rhythm
f. Follow the same process with three- and four-part rhythms
5. Many rhythm problems are actually technique and facility problems. Practice slowly until stu-
dents get the correct patterns in their hands.
6. Counting rhythms is important but counting and clapping rhythms is more helpful to good
rhythmic execution and development.
7. Make certain that “inner parts” are rhythmically vital.
8. To teach rhythms, recognize and isolate the problem.
9. It is often e ective to have students “sizzle” rhythms.

D. Technique and Facility

1. Good technique and facility are dependent on students knowing their instruments. They do this
by mastering the following:
• Scales
• Thirds
• Arpeggios
• Chromatic scales
• Finger patterns
• Lip flexibility exercises (brass)
• Rudiments (percussionists)
Be sure students identify and recognize these patterns in music being rehearsed.
2. Students often use less air when playing faster passages. Remind them that “the faster the
notes, the faster the air.”
3. Add student interest and responsibility by playing scales using the “solo-soli” system.

17 NN1241B
18 NN1320B
 E. Balance
1. To teach good balance, assign and divide the ensemble into four groups by instrument range:
bass, tenor, alto, and soprano. Build chords and unisons by starting with the bass section and
layer each successive group on top. Emphasize the pyramid of sound with lower-pitched in-
struments playing louder than higher-pitched ones.
2. Students should understand the role of their part in relation to the whole. Is it melody, a part of
a chordal accompaniment, countermelody, etc.? Determine which part should be prominent;
students should play it accordingly. (Inner parts often need to be emphasized.)
3. Ask students to make musical judgments. This helps to make each individual student responsi-
ble for his or her own part.
4. Good ensemble balance can be achieved during crescendos and decrescendos by having the
lowest-pitched instruments make the greatest dynamic change. Instruct students to “listen
down” and adjust their dynamics so that the lowest-pitched instruments are heard clearly. This
also applies to the percussion section.
5. Target the balance and blend by saying, “balance to the French horns” or “match the third clari-
nets.”
6. To create a dark, warm sound, instruct students to get “inside the sound” of the conical brass
(horns, euphoniums, and tuba).
7. Instruct students to get “inside the sound” of the person they are seated next to; this will pre-
vent individuals from “sticking out.”

F. Dynamics
1. There are no dynamic “absolutes.” All dynamics are related to one another within a piece.
2. Students need to understand the dynamic tendencies of their instruments. For example, it is
nearly impossible for young saxophonists to play very softly in the low register. Similarly, it is
very di cult for young trumpeters to play softly in the upper register, or flutes to play loudly in
the lower register. At those times, it may be necessary to adjust the number of performers play-
ing at that time.
3. It is often helpful to describe dynamic extremes by saying, “pianissimo is as quietly as you can
play WITH A GOOD TONE and fortissimo is as loudly as you can play WITH A GOOD TONE.” Ob-
viously, the operative phrase is “WITH A GOOD TONE.”
4. To emphasize dynamic change, explain that a crescendo means not only to gradually get
louder, but also to start quieter. A decrescendo means to gradually get softer and to start
slightly louder.
5. Plan the crescendos and decrescendos. Instruct students how loud you want them to be at the
halfway point.
6. When a band plays softly, the resonance is often lost. It may be helpful to suggest that students
try “whispering” loudly.
7. For practice, have students play tones eight to sixteen beats long through the dynamic ex-
tremes; ask them to play with a good tone throughout the entire dynamic range.
8. Oftentimes, students disregard dynamic attention when playing short notes. Have them play
multiple quarter notes in a variety of articulation styles through their complete dynamic range.

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 G. Articulation for Wind Players
1. When teaching students to tongue, donʼt have them say “tu” out loud; rather, have them whisper
those sounds. This will minimize jaw movement.
2. Teach students to minimize tongue impact.
3. Many articulation problems are really air speed problems. Instruct the students to keep the air
behind their teeth and tongues.
4. To improve sluggish articulation, have the students “sizzle” articulations before attempting to
execute them.
5. On short notes, students should:
• Use more compact, compressed air without forcing air into the horn.
• Get the air to the back of the note faster.
6. On fast notes, students should:
• Think, “How fast does my tongue need to move?”
• Keep the tongue close to the point of contact.
• Use more sound/tone as faster notes go by.

H. Phrasing
1. Tell students that phrasing is musical decision-making.
2. Determine phrase length by breath marks, harmonic cadence, and/or rhythmic cadence.
3. Instruct students to refrain from breathing during a phrase.
4. Relate the teaching of musical phrases to speaking. Have students say the phrase “I love making
music” four times. Each time, have students emphasize a di erent word:
I love making music.
I LOVE making music.
I love MAKING music.
I love making MUSIC.
Discuss how this changes the meaning of the sentence. The same is true with musical phrases.
5. Identify the most important note of each phrase. Generally, crescendo all notes leading to that
note within the phrase and decrescendo all notes moving away from the most important note
within the phrase.
6. Oftentimes, modeling the phrase is helpful.

I. Ensemble Playing
1. Teach students about their individual responsibility. Have students play a well-prepared piece
with their eyes closed to focus their listening and attention.
2. Make certain there is consistency in articulation to achieve clarity in the musical line.
3. Develop studentsʼ listening and performing skills by “passing a note” around the ensemble.
While doing this, have them match the previous performerʼs or groupʼs pitch, duration, and in-
tensity. Most groups start their notes at the same time but the real problem is at a noteʼs end:
students must listen to ensure that they match each other on their releases.
4. Try scrambling the seating in the rehearsal hall so that everyone will hear di erent parts. The
key to good ensemble playing is active listening.

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 J. Music Reading
1. Rhythmic reading skills are developed by having students count and clap rhythms before at-
tempting to execute them.
2. Tonal reading skills are developed by having students “sing” tonal patterns before playing them.
This can often be achieved by having students identify scale, third, and arpeggio patterns as
well as Rudiments (percussion) in their music.
3. Give students a repertoire of tonal and rhythmic patterns.
4. Music reading skills can only be developed by having students audiate (hear in their mindʼs ear)
tonal and rhythmic sounds before attempting to perform them on their instruments.

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