Air National Guard

Band of the Central States

571st Air Force Band

Solutions for Small Bands

Band Clinic

presented by
Captain John Arata, Commander/Conductor

Missouri Music Educators Association

72nd Annual In-Service Conference/Clinic

Rooms 74-77
January 29, 2010
8:15 A.M.

Tan-Tar-A Resort
Osage Beach, Missouri
 Embouchure: Teaching Tone with One Teacher in the Room

A characteristic ensemble sound is dependent upon each student using the right embouchure.
With nine or more embouchures to teach, the sole director of a small band needs to be
effective in getting a pedagogically sound message across in a concise way. The message is:

Embouchure + Air = Tone

We teach that tone should have the following characteristics: resonant (also “full” or “rich”),
clear, dark, and steady. The opposite of these is thin or weak, fuzzy, bright, and wavering. This
concept, emphasized regularly, is easy for students to understand.

Certainly, good equipment such as mouthpieces, reeds, accessories, and the instrument itself
plays a part in the tone. We downplay this fact saying that a great player with a student grade
instrument will still get a great tone. Furthermore, a teacher that focuses on upgrading family-
provided equipment may alienate a percentage of parents. This won’t help to keep kids in the
program. Therefore, the formula “Embouchure + Air + Equipment = Tone,” while true, is not
the message to young people.

The teacher should present the embouchure with a memorable formula. Each embouchure
should have no more than five basic tenets. This fits basic adolescent cognitive ability. Once
this knowledge is in place, the director can use a quick reminder when he hears a tone that is
less refined to correct the embouchure and keep the rehearsal moving forward. The pitch
check is the note that should be produced by the mouthpiece of a clarinet or saxophone when
the embouchure is correct.

Flute  “Shiny” lip

 Pout  Cold, focused air
 Firm, down-turned corners Pitch check
 Focus the air with the upper lip  mouthpiece + barrel = F#2
 Cold, focused air Quick reminder
Quick reminders:  No skin touching the reed.
 Pout
 Lower lip cushions, upper lip focuses. Saxophone
 The basic flute tone has vibrato.  Teeth on top
 Tuck the upper lip
Oboe  Corners in
 Say “home”  Curve in the lower lip
 Curve in both lips  Warm, “Darth Vader” air
 Support all the way around Pitch check
 Flatten it as you go up  Alto – A2
Quick reminder  Tenor – G2
 Let the reed speak.  Baritone – C#2
Quick reminders
Clarinet  Use warm air.
 Flat chin  Curve in.
 Firm corners  Don’t pinch so much.
 Teeth on top of the mouthpiece
Trumpet Trombone/Euphonium
 Down-turned corners  Down-turned corners
 Half and half mouthpiece placement  One-third/two-thirds mouthpiece
 Align and open the teeth placement
 Relax the throat  Align and open the teeth
 Focused, centered air stream  Relax the throat
Quick reminders  Focused, centered air stream
 Keep your teeth open. Quick reminders
 Don’t press.  Keep your teeth open.
 Don’t clench your throat.
Horn
 Down-turned corners Tuba
 Two-thirds/one-third mouthpiece  Frown
placement  Flat chin
 Align and open the teeth  Half and half mouthpiece placement
 Relax the throat  Align and open the teeth
 Focused, centered air stream  Relax the throat
Quick reminders  Big, cold air
 Keep your teeth open. Quick reminders
 Don’t clench your throat.  Keep your teeth open.
 Don’t clench your throat.
Tone While Tuning
The director of a small band can check the tone of each section on a regular basis while
monitoring the tuning process. After taking a tuning note, the director should have each
section play a few simple notes to check tuning, and this inherently promotes good tone
quality in each section. It is not necessary or even feasible to hear each section every day,
but periodically, this should suffice. Hear each section play the notes indicated:

flute adv. flute clarinet int. clarinet

adv. clarinet saxes concert pitch trumpet

horn w/ thumb bassoon low brass

 Rhythm Counting: Say What You Play

Rhythm counting is the most difficult part of music reading for a young person. The twin
concepts of symbols representing time values and steady pulse are abstract to students.
Teach rhythm counting out loud to all grade levels on a regular basis as an isolated lesson.
A method book with a variety of rhythm examples and time signatures should be used for
every ensemble. By using a method book in rehearsal, the director of a small band can
engage students as a group using the “say what you play” procedure.

“Say what you play” means that the student will say one word for each note, and no words
for rests. Therefore, a whole note in 4/4 time will be, “O-o-o-one.” This provides the class
with a system that is peer correcting. When a student says something other than the
correct rhythm with one word for one note, everyone else around him is saying something
different. The students are not self-conscious since they can speak at any socially
appropriate volume, nor are they particularly aware of how well the other students are
doing. It is also a procedure that requires very little disruption of the rehearsal.

Rhythm Samples

Avoiding Cumbersome Rhythm Tasks

Clapping requires large instruments to be set down first. A worksheet makes students
highly accountable, but only offers delayed teacher feedback. Written work is a significant
diversion from playing music, and is recommended for periodic assessment, but not on a
daily basis.

Some Sample Texts

The Eureka High School Symphonic Band uses Exercises for Ensemble Drill by Raymond
Fussell. Section 9 of this book is devoted to rhythm counting, and Section 10 offers over 50
unison sight reading excerpts. The Concert Band uses Essential Technique 2000 which
features several “Rhythm Rap” lines. The Freshman Band uses 3-D Band Book. Section III
of this text is for “Rhythm Preparation.” In this section, each page offers a new time
signature, unison counting examples, and two excerpts that can be played as a duet for
added variety and independence. The LaSalle Springs Middle School Concert Band uses 14
Weeks to a Better Band. New rhythm combinations are presented on each page followed by
an example, and an etude that combines the new concept with older ones.
Tap Your Foot
The foot tap is an indicator of the student’s internal sense of the pulse. When students are
not taught to tap their foot, a minority of students will learn their instrumental skill without
a sense of pulse, and the director will not know until a bad habit is irrevocably ingrained.
When they are older, they may say, “I can’t tap my foot and play,” as an indicator of the
lack of this basic concept. Kinesthetic learning is essential to ensure understanding pulse.

Other kinesthetic processes such as patting the knee are cognitively just as effective. Foot
tapping is the best for the small band because, like speaking instead of clapping, it doesn’t
require interruption of the lesson.

Teacher misunderstandings about rhythm ability

Perhaps no other musical element is so skillfully hidden by students than a weak rhythm
reading ability. Some occurrences in rehearsal are indicators that isolated rhythm study is
necessary. A student may ask, “How does this go?” A director who finds himself using
instructions such as, “Measure 27 is played ‘1 e and a 2 and 3 a 4,’” is teaching by rote.
This method only marginally contributes to the student’s reading ability. Sometimes
students interpret a combination of eighth notes and quarter notes as if they held the same
value. This means that rhythm counting with a pulse (such as foot tapping) has not been
sufficiently reinforced.

Students will often not ask how to count a rhythm, even when they are encouraged to do
so. Some teachers try to justify poor rhythm reading when they defiantly say, “I told them
to ask me if they didn’t know!” This doesn’t demonstrate a good awareness of adolescent
psychology. The music director that plans on teaching rhythms as they arise in literature is
inherently planning on a spotty approach to music literacy. The director should use a
method book to provide similar examples in preparation for new rhythms in the literature.

“Say What You Play” in the State Band Festival Sight Reading Room
After many lessons using the method book for a variety of meters and tempos, distribute
sheet music for sight reading. Use the first minute of preparation time to look over the
music silently. Then, with instruments in playing position, have the whole band say their
rhythms out loud while you conduct the piece from beginning to end. Give instructions out
loud as you go. Have the students do their fingerings and tap their foot. Percussionists may
turn sticks backwards and hit their forearms to the rhythm, clap hands for cymbals, etc.
The students will get a practice run through, and learn what they are about to see from the
podium. They will also hear what rhythms the other sections have, and be prepared to
interact on the first try.

There are a few deeper benefits to this procedure. First, the rhythm counting run through
allows the conductor to focus on the musicians a little more during the real thing. Second,
the weaker readers benefit from the synergy created by the whole ensemble. Third, it is a
system that keeps the entire group engaged throughout: a clear benefit for the single
teacher of a small band.
 Cross-Cuing: Getting Every Note Played

The key to a full ensemble tone quality in a small band is getting every note played using
the players that an ensemble has available. Music literature purists may be opposed to this
concept, but they have never taught a small band. This will require an effort on the band
director’s part to determine which parts are covered and which are not. Parts that are
marginally covered can be reinforced by instruments that have a surplus or that have rests.
This chart of basic instrument ranges in their concert pitches can be useful to find
substitutes to play the required parts.

Instrument Ranges

Software
An investment in professional music notation software will go a long way toward getting
parts played effectively. It will limit the number of arranging errors when the director can
hear the playback, and it also allows for easy corrections. It allows the director to simply
input the printed part, and then use a transposition tool to put the part in the correct key.
Furthermore, when students see high quality print material, they are more likely to play the
part well. Therefore, the director must familiarize himself with the program. The investment
of time is significant, but reaps tremendous benefits. Of course, writing out parts by hand is
still an option. In the long run, the software is a huge time saver, as is most technology.

Instrumentation: the elephant in the room.

Teaching a band with an unbalanced instrumentation is an inherent challenge. Directors
justify unbalanced instrumentation for a variety of reasons: student interest, emphasis of
pep band, marching band, or jazz band in their community, or other reasons. These are not
justifiable reasons. Band directors should strive for balance of all instruments in all
ensembles at all levels. Instrumentation is more difficult in a small band. Some solutions
include encouraging clarinet players to play bass clarinet, alto saxophonists to play tenor or
baritone, high brass players to play low brass, or more creative switches.

Instrumentation Solutions

 Does a small band need a piccolo?

Consider eliminating the piccolo in a small band. One piccolo can be overly dominating in
tutti sections of small bands. Only use a piccolo when that particular tone color is required
as in “The Stars and Stripes Forever,” Gustav Holst “Second Suite in F for Military Band,”
Norman dello Joio “Variants on a Medieval Tune,” or Robert Jager “Esprit de Corps.” This is
not to suggest that directors shouldn’t cultivate piccolo ability in their flute players. To
provide more opportunities, let flute players play piccolo in marching band or pep band.

 No oboe
A common substitute for a missing oboe is a muted trumpet. However, other substitutes
can include soprano saxophone or clarinet. For critical oboe parts that should come out of
the texture, an easy solution is a piccolo who will read the oboe part. It sounds an octave
higher than written, but comes through distinctively.

 No bassoon
Euphonium, bass clarinet, trombone, or tenor saxophone can all substitute for bassoon.
Bassoon solos or duets can be substituted by alto or tenor saxophone an octave up. In
Morton Gould “American Salute,” an effective substitute for the famous bassoon trio is two
altos and tenor an octave up.

 Not enough clarinets

The clarinet has a wide range that allows a wide variety of instruments to fill in missing
parts. Notice that alto sax is completely within the range of the clarinet and can usually
cover third clarinet parts if a band has too many altos and not enough clarinets. Tenor sax,
trombone, or euphonium can fill in for low clarinet parts.

 No bass clarinet
A trumpet player playing treble clef euphonium is an easy substitute for bass clarinet. He
will play straight from the written bass clarinet part. Tenor or baritone saxophone is a
possible substitute. Trombone is also in a similar range.

 Not enough trumpets

An alto saxophone within a small trumpet section adds to the fullness of the section’s tone.

 Not enough or no horns

The most obvious substitute for horn is the alto or tenor saxophone. However, other
substitutes include or high trombone, euphonium, or low trumpet. Clarinet can also be a
substitute with good blending results.

 Not enough trombones

Euphonium can be easily substituted for trombone, but if it is played by a trumpet player,
the part will need to be rewritten for treble clef. Like the trumpets, a tenor saxophone
hidden in a small trombone section can fill out that section.

 No euphonium
Tenor saxophone can play most of the notes found in treble clef euphonium parts. Bass
clarinet could be another possibility. A baritone saxophone can play low euphonium notes.
Euphonium solos can be re-written for horn.
  No tuba
Baritone saxophone is almost essential if a band has no tuba. Bassoon and bass clarinet are
in the same range, but not as good substituting for tuba. If the school has an orchestra
program, a bass player can meet this need, and many pieces have the part included. The
ensemble sound is not complete without the bass voice, so as a last resort, a keyboard bass
or bass guitar could be used. When using amplified instruments, make sure that the volume
and tone match the rest of the band. Consider aiming the amp more at the band instead of
the audience so that intonation benefits and the sound dissipates and blends.

Programming: Accentuate the Positive

Choose medium level literature.

A band director in a small school may be in a completely new environment. Being the
director of a small band requires a different type of ability than being a successful college
student. The young teacher may unwisely choose literature that requires the students to do
things without first isolating the concepts in the form of a lesson.

Choose music that is scored for the full band most of the time.
Sparse scoring is dangerous for the small band. Build the band program with music that
rarely has less than half of the band playing. Pieces with solos should also have a solid
background behind those solos.

Choose tuneful literature.

Some music doesn’t have great melodic content. The “hook” of this music may be
percussion, power, syncopation, accents, or effects. Instead, choose music that has
melodies that guide the student clearly from note to note. Look for melodies that have clear
shapes and endpoints so you can teach students to breathe together and to shape phrases.

Play marches, Americana, and patriotic music.

The American march is a distinctive compositional form. Marches promote technique,
articulation, style, precision, rhythm and subdivision. They typically contain memorable
melodies. Marches are an introduction to the study of musical form that is easy for students
to understand. Moreover, marches are almost always well received by the audience.

Americana can refer to a wide variety of literature. Claude T. Smith “Declaration Overture,”
David Holsinger “Prairie Dances,” and Clare Grundman “Kentucky 1800” are a few quality
grade 3 examples that are valuable for teaching and enjoyable for students and audiences
alike.

Another winner is to play a medley of the armed forces’ songs. Invite members of the
audience to stand when their service song is played, and announce, “Army! Navy! Marines!
Air Force! Coast Guard!” when each begins. Beware when choosing an arrangement. Some
only include two or three of the branches of the service. You will not be easily forgiven for
overlooking a branch of service when recognizing others.
The patriotic finale is sure to receive a standing ovation, which reinforces your program to
students and parents alike. A number of arrangements of “America, the Beautiful” are
available. When it is played as a background to a patriotic poem recited by a student, there
will be many hearty handshakes for that band director following the concert.

131st Bomb Wing/ANG Band of the Central States

Col Robert Leeker Commander, 131st Bomb Wing
Col Greg Champagne Vice Commander
Capt Catherine Germain Executive Officer
Capt John Arata Commander, 571st Air Force Band
SMSgt Jeff Strahlem Superintendent
MSgt Scott Walker First Sergeant
MSgt Jeff Cluster Unit Deployment Manager/Mission Support NCO
MSgt Karen Faris Operations NCO
MSgt Brian House Communications NCO
MSgt Ray Knittig Administration NCO
MSgt Kathy Nix Concert/Ceremonial Band NCOIC

Col Patrick Jones Chief, Air National Guard Bands

CMSgt Roger Mason Enlisted Program Manager

This clinic is sponsored today by:

Colonel Robert Leeker, Commander
131st Bomb Wing
10800 Lambert International Blvd.
St. Louis, Missouri 63044
(314) 527-6200
www.bandofthecentralstates.ang.af.mil
www.131bw.ang.af.mil
 Missouri Air National Guard

Members of the Missouri Air National Guard serve the Air Force one weekend each month
and two weeks each year. The Air National Guard offers part-time and full-time positions in
numerous career fields as well as training, benefits, and college tuition programs.

The Missouri Air National Guard has facilities in St. Louis, St. Joseph, Jefferson City,
Whiteman Air Force Base, and Laclede County. Our primary missions include the C-130
“Hercules,” the B-2 “Spirit,” the Advanced Airlift Tactics Training Center, and the Cannon
Range for air-to-ground weapons training. The Missouri Air National Guard also has several
units with other specialties including the Air National Guard Band of the Central States.

Air National Guard Band Program

The Air National Guard Band program consists of eleven bands in the United States. Each
band has a multi-state area of geographic responsibility in which we represent America's
Airmen to a global audience.

To audition for membership contact: To sponsor a performance, call:

TSgt Paul Holzen, Auditions Director MSgt Karen Faris, Operations Director
pholzen@yahoo.com or (314) 302-6331 karen.faris@ang.af.mil or (314) 527-6324
www.bands.af.mil/careers www.bands.af.mil/requests

The Air National Guard Band of the Central States is wholeheartedly committed to reflecting
the diversity of our great nation. People of all backgrounds are encouraged to learn about
their Air National Guard and to seek positions in the band program.
 Air National Guard Band of the Central States
The Air National Guard Band of the Central States is headquartered at
Lambert International Airport in St. Louis. Our mission is to support the
global Air Force mission in war and peace by fostering troop morale,
building community relations, recruiting for the Air National Guard, and
fostering our nation’s musical heritage.

As members of the Air National Guard, the band serves the Air Force one
weekend a month and two weeks each year. Our duties are always
musical in nature, but the venues are widely varied. The band is
comprised of several different ensembles including a Concert Band,
Ceremonial/Marching Band, The Sounds of Freedom Jazz Ensemble,
Strike Eagle Brass Quintet, Sidewinder Rock Band, and Jazz Combo. We
support military and community events. The band has performed for the President and the
Secretary of Defense, as well as for notable destinations such as Ecuador, Chile, the Mormon
Tabernacle in Salt Lake City, the Pentagon, two Fourth of July appearances at Mount Rushmore,
the Midwest Band and Orchestra Clinic, and a tour of military installations and communities in
Kuwait, Qatar, Djibouti, and Iraq.

About the Clinician

Captain John Arata entered military service in 1999 and the Air
National Guard in 2002. He is a distinguished graduate of the Academy
of Military Science at McGhee Tyson Air National Guard Base, Tennessee,
and the United States Army Training Center at Fort Jackson, South
Carolina. His military decorations include the Air Force Achievement
Medal, the Army Service Ribbon, the Missouri Military Funeral Honors
Ribbon with four oak leaf clusters, and the Army Sharpshooter Badge.

Captain Arata earned the Bachelor of Science in Education from Missouri

State University and is pursuing the Master of Music in wind conducting
from Southern Illinois University – Edwardsville. His conducting studies
include courses or master classes with John R. Bell, Colonel Arnald
Gabriel, Colonel Patrick Jones, Lieutenant Colonel Steven Grimo, Frederick Fennell, Anthony
Maiello, Allan McMurray, Michael Casey, and Robert Quebbemann.

In his civilian career, Captain Arata teaches at Eureka High School and LaSalle Springs Middle
School. He directs the Wildcat Pride Marching Band, Symphonic Band, Concert Band, Freshman
Band, Jazz Lab, Big Band, and he assists the LSMS 7th grade band. The EHS Symphonic Band
was featured at the 2009 MMEA convention and on “Classic 99” KFUO-FM’s High School Classics
program. EHS Bands routinely earn superior ratings in state and national festivals and places in
regional marching band competitions. His previous positions were in the Rolla Public Schools
and in the Houston (MO) R-I School District.

Special thanks to Paul Holzen and Cassie Renner for proofreading this packet and offering their
technical and contextual advice.