the wind ensemble survival guide
advertisement
the wind ensemble survival guide what’s what and who’s who the wind ensemble survival guide by lina a. colucci welcome Dear WE Member, Congratulations on your outstanding audition and welcome to a new year of the LHS Wind Ensemble! The pages that follow are a compilation of facts, helpful hints, and suggestions that past WE members wish they had figured out sooner about the wind ensemble experience. I hope that some of this information will be of service to you. The LHS music department is a wonderful community with some incredibly talented, funny, and interesting individuals. I hope you will take advantage of it and enjoy your time as much as I have enjoyed mine. Yours always, Lina A. Colucci Class of 2008 3 contents what’s what? A Note from the Director 5 What else is there in the music department? 21 The Basics 6 Calendar 21 Course Expectations ........................................ 6 Miscellaneous 21 Grading policy ................................................... 6 Recordings ...................................................... Assessments ...................................... 7 Practice Rooms ................................................ 20 Independent project ............................. 8 Graduation ..................................................... 19 23 Concert Dress .................................................... 9 MICCA .............................................................. 23 Pops .................................................... 10 Pops .................................................................. 23 Parade Dress ....................................... 10 Secret Santa .................................................... 23 Private Lessons & Teaching 12 Wise Words (Advice & Suggestions) 24 Who’s who in the wind ensemble? 13 A Final Word 25 Appendix A 26 Presidents & Section Leaders ......................... 13 Members & Seating Arrangement .................. Surviving a rehearsal Tuning process ............................................... 14 Scale Requirements ......................................... 26 15 15 If you’re sharp/flat ............................................ 15 Transposition of instruments ........................... 16 Just Enough Theory Clefs ............................................................... 17 17 Time Signature ................................................ 17 Scales and Modes ........................................... 17 Key Signatures ............................................... 19 Minor Scales .................................................... 20 4 a note from the director Dear Students, Welcome to the LHS Wind Ensemble. You are now a member of one of the most well considered high school music groups in the state. This carries benefits and responsibilities. Among the benefits are: the chance to play high quality wind band literature with other committed, dedicated young musicians, the opportunity to be involved in a group that has the power to move people within and outside of that group through music, the chance to influence and inspire the musical choices younger students make with your performances, the pleasure of being associated with many of the brightest, most talented, nicest people at LHS, and the chance to take your place in the illustrious history of music-making at LHS. The foremost among your responsibilities is preparation. If you come to every rehearsal with your part prepared, you will have fulfilled your obligation to the music, the group, your fellow players, the audience, and finally, yourself. That is an enormous responsibility, but one that is easy to satisfy. Plan your preparation time and promise yourself to make it happen on a regular basis; make it a habit. If we all discharge our individual responsibility to prepare, I promise you a remarkable, life-changing experience; one that can only occur with this group, with these people, in this year. If we succeed, you will remember and speak about our experiences with reverence and love the rest of your life. Why would you ever want to pass up or short-change that opportunity? I am so looking forward to our work together and to getting to know you as people and musicians. Let’s have an extraordinary year! Thanks for being here, Jeffrey P. Leonard Wind Ensemble Director 5 the basics Course Expectations Attendance • Be in class by the late bell. In your seat, set up, and ready to play when the class begins. • LHS attendance policy is in effect. • Every unexcused absence drops grade one full level (from B to C). Excused absences are defined by school policy. Instrument and Music • Instrument in good working order with working reeds, valve oil, mouthpiece, neck strap, mutes, etc. • Bring all music to class every day. Each student will have their own folder with personal copies of music. Section leaders are responsible for distributing new music; go to them first. • Have a pencil on the stand for every rehearsal. (Keep one in your folder!) Rehearsal Technique • Actively involved in all facets of rehearsal, obviously trying. • Demonstrates proper playing technique 1. Good posture 2. Proper instrument and hand position 3. NO GUM CHEWING • No talking or other disruptive behavior during rehearsal Home Practice • Evidence of practice for performance at the Honors level expected • Learning appropriate scales, chords, and music for class (see below “Assessments”) Participation in all Scheduled Performances • Illness, death in the family, or religious holiday observance are the only permissible excuses. Unex cused absence from a performance will result in a maximum grade of C for that quarter Grading Policy Grade of A Grade of B Grade of C Grade of D Grade of F Meets and exceeds course expectations, assessment audition at the end of each quarter, independent project each quarter Meets course expectations, assessment audition at the end of each quarter Some course expectations not met Many course expectations not met Fails to meet any course expectations The five course expectations are equally weighted when determining your grade. For those not choosing the audition option, evaluation will take place as a part of the regular rehearsal process. As6 the basics sessment auditions will take place during the quarter, (hopefully prior to the concert), after school and during C, E, F, and G Blocks. Assessments Assessment auditions may include: • Scales and arpeggios. (See below). • Chromatic scale over the working range of the instrument “Contrary to • Any section of the band music of the directors’ choosing popular rumor, the assessAND/OR • 1 - 2 minute excerpt from solo or etude being worked on ment is not intended as torture device. outside of class (required to receive an A) Compared to your wind ensemble-audi• Aural skills testing tion, the assessment is relatively low-key, and • Sight reading intended as a method for Mr. Leonard to check This grading policy is not ability biased. All players are expected to show progress on their instruments. Not all players are expected to play at the same level but all are expected to play to their individual ability level. students’ progress throughout the year. Overall, the assessment is quick, painless, and a great one-on-one experience with the director. “ Requirements by Grade For complete details see Appendix A 9 10 11 12 Freshmen Sophomores Juniors Seniors Majors, 4 sharps and 4 flats All Majors (12 scales) All Majors + Minors, 4 sharps and 4 flats All Majors + All Minors *Minors = Harmonic minor scale **Knowing all scales means knowing them through the range of your instrument AND arpeggios For Major and Minor Scales and their Arpeggios Slur up, tongue down (for trombones, legato up, staccato down) Scales should be played slowly (no faster than =100). They are intended to show beauty of sound and intonation (how well you can play in tune with yourself) Chromatic Scale Slur up, tongue down The chromatic scale should be played through the range of the instrument as fast as possible (meaning as fast as you can play it WELL). The chromatic scale shows the director your technical facility on the instrument. 7 the basics Independent Project Students striving to achieve an A in Wind Ensemble will be required to do an independent project each quarter. Projects must be completed by the last day of the quarter to receive full credit. Students must e-mail the project proposal to Mr. Leonard one week prior to the end of each quarter for approval. Be specific in proposals for compositions, arrangements, and music theory projects. Possible projects may include: 1. Concert Review Attend a wind or percussion concert (permission may be granted to review a concert outside the wind/percussion realm) of your choosing and discuss it critically in an essay format. Consider what you liked and didn’t like, and give specific examples to corroborate your opinions. Compare the performance you attended with your perception of the LHS wind ensemble’s performances. Analyze how the two are alike and/or different. 2. Composer Biography Select and research a composer (preferably, but not limited to one whose work we have been playing) and write a biography about him/her. The biography must show a substantial amount of work and cannot be simply copy-and-pasted from a website. 3. Composition Project Write an original musical composition or arrangement for a solo instrument or group of instruments. The composition project is intended to show that the student thinks about and pursues active musical engagement outside the classroom. 4. Music Theory Project Chose a specific area(s) of music theory that you are interested in studying and develop an independent study schedule for yourself throughout the quarter. Work with the Practica Musica software available on the music media lab computers and print an evaluation report (directly from the software) after completing each section. At the end of the quarter, hand in your evaluation reports to Mr. Leonard. 5. Public Performance Project Work on a piece and perform it in front of a live audience. Participation in the MICCA Solo & Ensemble competition in May is highly recommended (will count as your fourth quarter project). 6. Mentorship project Mentor a student (of your same instrument) in the Symphonic band. This Papers and involves working weekly with the student on his/her band music, warm-up reviews must be techniques, other etudes, or additional exercises of your choosing at least 2 full pages, 7. Other pre-approved project of your design double-spaced. 8 the basics Concert Dress Men A tuxedo or an approximation of a tuxedo. Black jacket, black trousers, white shirt, black bow tie, black socks and black shoes. Women In the past, we have had issues with how women have dressed for concerts. This is a new year and we will hopefully not have the problems we have had in the past. The goal of concert dress is to look professional. By dressing in a uniform, conservative style, we show respect for the music, for our audience, and we are taken more seriously. The audience should focus on the music, not on your clothes. The mandatory attire is as follows: You should wear all black . . . Tops, skirts, dresses, and shoes. No navy, dark gray, or other dark colors. We are looking for a formal look. You should look conservative and a little dressed up. Bottoms An ankle-length skirt or black dress is required. This is important because we sit on a stage that is above the audience. Pants are not acceptable. Tops Wear a nice, long-sleeved black button-up blouse. No three-quarter sleeves unless you are so short that they look full length. We know it can get hot, but remember that the men wear long sleeved dress shirts and jackets. Natural fabrics, such as cotton, linen and silk, might be cooler than synthetics. Tank tops are not permitted. Make sure the top is long enough to fully cover you. There should be absolutely no stomach, cleavage, back, or other unnecessary skin showing. Therefore, make sure that shirts are long enough, bottoms are high enough, and the neckline is modest enough. Underwear is not outerwear. Shoes Wear a black dress shoe. Please be sure that it is a dress shoe, not a sandal, boot, etc. Shoes should be close-toed and closed heeled. Heels should be two inches or less. Also, be certain that the entire shoe is black: no cork bottoms, colored designs, or any other dark colors. We suggest neutral, conservative pantyhose (sheer black). No white or colored socks, even if you think they don’t show. 9 the basics Dress-Code Addendum An extra reminder to the dress code…This was written a few years back by some wind ensemble ladies: Ok. Here’s the deal. Yes, dress codes are annoying, but they serve a purpose. Please follow them, because if you don’t, you will stand out, and the group will become less of an ensemble. Be glad we don’t have a required uniform like other bands. • NO short-sleeved shirts. You can get away with threequarter if you really can’t deal with long sleeved, but no upper arms should be visible. • PANTS! Once and for all, here is the deal with pants. DO NOT WEAR THEM, unless you are actually wearing a full tuxedo, or you have special palazzo pants (the big wide billowy ones that look like skirts). All other pants are not OK. • Skirts should be at least to the ankle…even if they are dressy; you really don’t want to be sitting on a stage above people wearing a skirt much shorter than that. • Unless your skirt is long enough to cover your shoes, get close toe ones. Otherwise the audience can see your toes. And that is distracting. And out of season. Past members have found items at: www.concertblack.com Pops Concert The Pops Concert in May is the only time that the dress rules are different. Men are encouraged to wear colored bow ties and women wear cocktail length to floor length dresses. Spring colors are encouraged. (For more information on Pops, see page 22) Lord & Taylors (not Junior’s section) Parade Dress Band members should remember that when in uniform they are representatives of their school and community. The uniform should be kept clean, pressed and always treated with care. Behavior when in uniform should reflect respect for oneself and the community. (continued) 10 the basics Uniform Fit and Care When fitting the uniform, make sure that there is adequate room for several layers of warm clothing under the coat and pants. Several thin layers of clothing are better than one thick layer. Check the fit of the coat to make sure it will accommodate the necessary instrument playing position. If the pants are too long, be sure they are hemmed to the proper length. Each uniform will have a garment bag with a corresponding number. Uniforms, hats, shoes, and parade music should be kept in these bags. The uniforms should not leave school. We report to the school before each parade to dress. 11 MFTTPOT UFBDIJOH Private Lessons We cannot stress enough how important the role of the private music teacher is in guiding a young musician to his or her highest possible level of achievement. We hope you will consider taking advantage of our collection of excellent private instructors. Instrument lessons are available locally from private institutions as well as here at Lexington High School through the auspices of Lexington Community Education. For information aboutlist private lessons, see Below is the current of instrument teachers who work with Lexington Community Education. For more information see http://lhs.lexingtonma.org/Dept/FineArts/music/private_lessons.html http://lhs.lexingtonma.org/Dept/FineArts/music/private_lessons.html Linda Bento-Rei Flute Ken Jones Trumpet Daneille Boudrot Flute Richard Waddell Trumpet Jessica Lizak Flute Ellen Donahue-Saltman French Horn Kathryn DiCola Oboe Dan Fox Trombone Brian Kane Saxophone Jim Lutz, Jr. Tuba/Baritone Jerry Vejmola Sax, Clarinet Sandy Prager Guitar Nancy Radnofsky Clarinet James Lattini Percussion/Set Bill Kirkley Clarinet Allan Espinosa Violin/Viola Greg Gettel Trumpet Teaching “Teaching younger kids is a lot of fun and a great way to es- tablish a mentorship program Being a member of the LHS Honors Wind Ensemble means you have advanced on your instrument and reached the technical proficiency sufficient to give lessons to younger students. between the high school and middle school.” At the beginning of the year, Mr. Leonard will ask for the names of those who are interested in offering their services as private teachers to middle school music students. Your name will then be passed on to the younger kids and their parents. Teaching is paid work (a standard fee set by Lexington Community Education) OR it may be counted for community service hours. 12 XIPTXIP JOUIFXJOEFOTFNCMF Band Presidents The band co-presidents are responsible for behind-the-scenes work such as getting the music prepared for the wind ensemble, organizing the band room, organizing outside groups (such as pep band), among other things. Feel free to come to the presidents for whatever problems you may have: logistics, how-to’s, questions pertaining to your music (or biology homework), or whatever else you wish. Lina Colucci Toby Forman Clarinet Alto Saxophone Section Leaders Section leaders are responsible for music distribution and making sure that all of the members of their section have the correct parts. They should make sure that all stands and chairs are put away at the end of rehearsals and assist in keeping all members of their sections at task during rehearsals. Go to your section leader when… • You need a part • You’ve lost/forgotten your music • You have questions about the music, fingerings, etc. Flutes Kate Woodcome Double Reeds Katherine Wang Clarinets Dan Shaw Shelly Yanushpolsky Saxophone David Wang Ethan Ward Trumpets Jeremiah Huang French Horns All players Low Brass Brian Reynolds Percussion Dan Garmon Attendance Phil Rauscher Librarian Sam Walker 13 XIPTXIP JOUIFXJOEFOTFNCMF Oboe Keith McHugh Andrew Villanueva tru mp et s ns hor ch en Fr es on Bassoon Brittney Joyce Louisa Slosar Katherine Wang Trombone Bb Clarinet Tenor Saxophone Max Blumenthal Tim Borjas Nathan Katz Nathaniel Durant Lina Colucci David Wang percussion David Evans Bass Trombone Jess Evans Baritone Saxophone Michael Krant Christine Heffernan Nate Tarrh Kate Jeong Ethan Ward trombones Euphonium Sangho Kim eup hon Brian Reynolds Anne Mok Trumpet ium Daniel Shaw Ben Goulet s & Jeff Snyder Maya Tatsukawa ts Huang ari saJerimiah b x o p ho e tu ine baTuba s Morgan nKelly Leah Weiner clar s s t e s Natalie Friedman Evan Marcantoniono Shelly ba Yanushpolsky r s Phil Rauscher t a e xo Alex ph Percussion string rin Bass Clarinet ons oboeScherzer a s John Cho Nick Singer Alex Cohenbasso cl bass David Fink Sam Walker Terry Cullen Dan Garmon Tiffany Kim French Horn Alto Saxophone Tom Osborn Joey Costello Toby Forman Dina Tyson Annie Johnston Shefali Jain Yui Kitayama Jeff Lin o c l c o i p Irene Smail Beth Rutila al to Flute Emma Chung Molly Keeping Cindy Lee Aviva Musicus Erica Rhodin Thea Vanderschmidt Kate Woodcome Shannon Woods ets PERCUSSION tes clarin flu clari net s tes flu nes pho axo os alt WHO'S WHO IN THE WIND ENSEMBLE? TROMBO NES TO S AL AS B AR CL IN S ET OBOES & STRING BASS TU BA SA O PH NE S FR EN CH HOR U NS FL S TE CLA RIN ET S / UM XO TR UM PE T S BA EU PH ON I NS SSO O 7 11 17 18 14 14 surviving a rehearsal Tuning Process Straight-forward tuning Tuning is a group process. The tuba(s) will play the tuning pitch and each section (from lowest to highest pitch) will enter and add onto the tuba’s sound until everyone is playing. During tuning, keep in mind to (1) always listen down to the tuba for refer“The point of ence pitch, and (2) check in with the rest of your section to ensure that this exercise is to be you are all playing with the same tone quality. in tune with the group as a Tuning by scales whole. Using a tuner is bad. You could be in tune with yourself, but not with the rest of the group.” The Wind Ensemble often tunes by playing long tone scales in either unison or harmony. Doing a scale harmonically means that different instruments start the scale at different times. Group 1 begins, followed by Group 2, and then Group 3, each separated by thirds. Be careful about balance and blend! If you can hear yourself, chances are you are not in tune. (See below for what to do). Group 1 – low – tuba, trombone, euphonium, baritone saxophone, bass clarinet, bassoon Group 2 – middle – trumpet, tenor saxophone, French horns, alto saxophone, alto clarinet Group 3 – high – Bb clarinets, flute/piccolo, oboe Am I sharp or flat? …and what do I do about it? The goal of a wind ensemble is for all instruments to blend their unique voices into a warm, pleasant, unison sound. Chances are that if you can hear your individual sound, you are out of tune. If you are flat (below the pitch) – PUSH IN By doing so, you are making your instrument shorter (like a piccolo), and that makes the pitch go up (think about what a piccolo sounds like). If you are sharp (above the pitch) – PULL OUT You are making your instrument longer (like a tuba), and that will make you sound lower (more like a tuba). If you don’t know if you’re sharp or flat - DO SOMETHING! If you push in and it gets worse…pull out! If you push in and it gets better…congratulations, you got it right! 15 surviving a rehearsal Transposition of Instruments Concert Pitch Instruments flute, oboe, C-trumpet, mallets, trombone, baritone, euphonium (bass clef), tuba no transposition necessary Bb Instruments Bb clarinet, Bb bass clarinet, Bb trumpet, soprano/ tenor saxophone, euphonium (treble clef) transpose UP a WHOLE step Eb Instruments alto saxophone, alto clarinet, baritone saxophone transpose UP a SIXTH or transpose DOWN a MINOR THIRD F Instruments French horn, English horn transpose a DOWN a perfect FIFTH or transpose UP a major THIRD Concert Bb Eb F A A# Bb B C C# Db B C C# Db D D# Eb F# Gb G G# Ab A A# Bb E F F# Gb G G# Ab D D# Eb E F F# Gb G G# Ab E F F# Gb G G# Ab A A# Bb B C C# Db D D# Eb E F A A# Bb B C C# Db D D# Eb 16 E A G F just enough theory B E fig. 3 Compound Time Signature E F E C F G C G C fig. 3 “Every Good Bass Clef (F Clef) C Tells the number of subdivided beats per measure Tells the rhythmic note value that receives the F subdivided beat Bass Clef (F Clef) Bass Clef (F Clef) F G A B C F fig. 3 fig. 2 Treble Clef (G Clef) E F A G B C D G E “Good Boys Do Fine fig. 1 Always” Bass Clef (F Clef) The time sig- E F nature 4/4 is so common that it is often abbreviated as fig. 2 “” for common time. And a “” with a line through it “” stands Treble Clef (G Clef) for cut time, which is Compound Time Signature equal to (2/2). CommonGPractice Period Tells the number of D fig. 2 Compound Time S Scales & Clef Modes Treble (G Clef) Tells the nu subdivided measure Tells the rh note value receives th subdivided fig. 7 subdivided beats per measure The practice period was an era from fig. common 1 Tells the rhythmic note valuearound that 1650-1900. Music during this period is largely receives the based subdivided beat on scales that use only the “white keys” of a piano. fig. 7 Each scale has seven modes. Their names can be remembered with the G phrase: The result is seven different scales without accidentals. Each scale has a different feeling and mood to it. These scales are known as modes and each have their own Greek name. Through out history, certain modes were preferred over fig. 1 7 others. Two modes were the most common, they were: Ionian (major scale) and Aeolian (minor scale). c Lo n ria n lia n ian lyd xo ian n ria ian o Ae 6 Mi 5 d Ly ry Ph 4 gia 3 Do 1 2 Ion I Dig Pizza, Let’s Make A Lot! Scale Degree fig. 4 To remember the names of the lines for treble and bass clef fig. 4 fig. 7 fig. 7 E fig. 4 D Bass Clef (F Clef) Boy Does Fine” B A E G F Signature Compound Time Time Signature B A C fig. 1 E D B Tells the rhythmic note value that receives the subdivided beat Treble Clef (G Clef) A G Tells the number of subdivided beats per measure Treble Clef (G Clef) A F fig. 2 C G Bass Clef (F Clef) Bass Clef (F Clef) Treble Clef (G Clef) D D C F E D The staff has 5 lines and 4 spaces. Each line and space has a different letter (note) name that de pends on the clef the notes are in. C B C fig. 4 A 17 Phrygian just enough theory W WScale WMinor H Locrian W H (Aeolian) fig.17 W Dorian fig.13 H W H W W W H fig.W22 W W W Major Scale (Ion W H W W fig.13 W H W W H W W H W W H W W W W W H Scale: "A" n Minor Minor Scale (Aeolian) Dorian Phrygian Minor Scale: "A" natural minor scale Major Scale W H (Ionian) fig.16 W H W W fig.17 W fig.12 Major Scale (Ionian) W W H W Mixolydian W W W H W fig.11 W W W fig.15 W W W H W H W H H W fig.11 W H H W W W W W H W H W W W H W Phrygian Locrian Minor Scale: "A" natural minor scale fig.12 WH H W W W W W Minor Scale (Aeolian) W W fig. 22 fig.13 Lydian HH W W H H W H W W H Mixolydian W H W W H W fig.17 fig. 22 WW W fig.16 W W H W Major Scale (Io WW Dorian Mixolydian fig.14 Each of the common modeshas seven scale degrees. Each degree hasits own specific name. Sharps 3 1 1 3 WH H W W WW W W Mixolydian Major Scale Wfig.16 H W W (Ionian) W 2 4 6 7 . 19 5 2 6 W 4 WW 5 7 W W W H fig.14 WH HW WW W H WW H Scale Degrees Scale Degrees 5 6 7 fig. 20 5 7 2 3 4 fig. 24 W H W H W W W W H W 5 6 7 W Minor Scale (Aeolian) Minor Scale: "A" 18 fig. 24 W H W W W W H e on gT din 3 3 W W fig.12 W a Le t ne ian To ed ng bm di Su ea L t nt dian na mi me b t Do Su inan om nt bd ina Su m Do nt nt na dia mi Me bdo Su nic rto pe t Su ian ed ic 4 6 M nic To 2 4"A" natural minor scale 1 Minor Scale: 1 H W H n rto pe Su 20 W Flats nic To 2 H W fig.15 W W 1 2 3 4 5 6 7 fig.15 fig.11 fig. 19 HH W H W W W Lydian just enough theory Lydian W W W 3 1 4 6 2 Key Signatures 5 7 H W W H fig.14 Sharps Scale Degrees In music, the sequence in which sharps ats appear in the W key signature is always in a specific Wand flW W H H W order. fig. 19 Sharps 2 4 Flats 1 Circle of Fifths 6 2 4 1 6 Scale Degrees 3 5 7 7 5 nic To 3 1 fig.14 6 5 F 1 fig. 20 B 6 G 1 a d 7 C 7 e W 2 H W W 7 6 5 4 3 fig. 24 2 1 KEYS Minor2Scale: "A" melodicMINOR minor scale W H W D fig. 24 g 3 c W H 5 4 3 2 1 E 5 Minor Scale: "A" melodic minor scale MAJOR KEYS ic 3 n To ing ad Le t ian ed bm Su nt na mi Do nt ina om bd Su 4 2 n rto pe Su 2 4 1 nic To 1 3 nt dia Me The relationship between major fig. 19 and minor keys can be summarized fig. 20 in a chart known as the circle of fifths. As one moves clockwise around the chart, each new key is built on the fifth scale degree of the previous key. Flats 7 "A" harmonic minor scale Minor 6 Scale: W W b W H f W 2 1 fig. 24 f Minor A 4Scale: "A" harmonic minor scale c W 1 5 C /D W a /b 2 H 4d 3 W g /a 75 6 /e 5 6 6 F W/G fig. 23 fig. 21 4 H 3 A 3 4 W W 7 6 5 H W Efig. 23 B/C H W W 19 W W W just enough W H W fig.14 Sharps fig.17 Major Scale (Ionian) 1 3 theory 4 2 fig. 19 6 7 5 Scale Degrees 4 5 6 7 1 2 3 2 4 1 6 scale: the natural minor scale, the harmonic minor scale, and There are three variations of theminor W Natural Minor Scales g.12 ne To ing ad Le t ian ed bm Su nt na mi Do nt ina om bd Su H 7 ic W W W 5 H W nt dia Me 3 fig.11 W n rto pe Su the melodic minor scale. W H W nic To Minor Scales W Flats fig. 24 fig. 20 Minor Scale: "A" natural minor scale 6 7 Lydian Minor Scale: "A" melodic minor scale n) Harmonic Minor Scales W W WH W H 5 4 3 2 1 WW HW W 22 W fig. fig.14 fig. 24 WH WW H W H W W Sharps To convert a natural minor scale to a harmonic minor scale, one simply raises the seventh note by a half step. 1 3 W W fig.16 H 6 4 2 7 minor scaleScale WMinor W Scale: "A" 5harmonic Degrees Mixolydian T convert any natural minor To scale into a harmonic minor scale, ra r is i e th t e 7th t note a th half step 6 W fig. 23 H 7 W W 2 W W H 3 4 ic 3 W5 1 W H ne To ing ad Le t ian ed bm Su nt na mi Do nt ina om bd Su 4 W W n rto pe Su 2 H nic To Melodic Minor Scales 1 W 7 6 5 4 3 2 nt dia Me Flats fig. 19 1 5 6 7 To convert a natural minor scale to a melodicfig.15 minor scale, raise the sixth and seventh fig. 24 notes by a half step. Note: Composers fig. will20usually use melodic minor scales only when ascending. When descending, they prefer to use the natural minor scale. Minor Scale: "A" melodic minor scale 2 1 W H W fig. 24 W 7 6 5 4 3 H W W T convert any natural minor To scale into a melodic minor scale, ra r is i e th t e 6th t and 7th th t th notes a half step 20 XIBUFMTF What else is there in the music department? To learn about all the other opportunities available in the music department, visit the website http://lhs. lexingtonma.org/Dept/FineArts/music/music.html. A few of LHS’s musical groups are listed below: Jazz Football Ensembles Band - Volunteer (990 hours) Parade Band Extracurricular (Community Service/990 4 credits Membership by audition only ...plus a lot more! hours) Calendar For a complete calendar of all things musical at LHS, visit http://lhs.lexingtonma.org/Dept/FineArts/ calendar/calendar.html. 21 miscellaneous Recordings “Getting If the desired recording is on the band computer you have two choices: a) recordings of the burn a CD by making a new playlist in iTunes, hitting BURN, and then insertpieces we are playing ing a blank CD from home. b) Plug your ipod into the computer with your charging cord (making sure your ipod is disk compatible), and drag the songs can save your life, and you want into the ipod icon (i.e. where the calendar and games folders are). it’s easy to do.” When you get home, repeat the process but by dragging the songs out of your ipod and onto your desktop “Argh!” (the wind ensemble slogan) Practice Rooms – Four practice rooms are available throughout the day for student use. Practice rooms will generally be locked, so find a janitor, Mr. Aramati, or Mr. Leonard to open one for you. After school, practice rooms are usually used for private lessons. You are welcome to Pirates the use any empty one you find but be prepared The wind ensemble to leave if a teacher arrives. mascot that can be traced P-word back to the beginning of time. No one knows why, but we all hail to the flags hanging on the walls of the band room ( pr²k“t¹s) v. tr. 1 To do or perform (something) repeatedly in order to acquire or polish a skill “Watch out for the right hand door out of the band room - it never opens no matter how many times you push it. Doing so is a dead give away that you are a freshman (or a laggard senior)” 22 how we do things Graduation – The Wind Ensemble plays at LHS’s graduation ceremony every year. It has become tradition that when a graduating wind ensemble senior goes up to receive his/her diploma, his/her respective section plays a little something (a high note, a trill, a small excerpt from band music). When band presidents go up, the entire wind ensemble plays something (either an organized excerpt or simply a lot of sound). MICCA Competition – (Massachusetts Instrumental & Choral Conductors Association ) www.miccamusic.org MICCA is a statewide music festival and LHS is a host to the instrumental portion. Each group in the festival is evaluated by three judges and the performance is proceeded by a clinic with one of the judges. Medals are awarded to each group and the gold medal winners have the opportunity to play at either Symphony Hall in Boston or Mechanics Hall in Worcester. The MICCA festival starts Friday afternoon and goes through Sunday. LHS students are asked to volunteer (community service hours are given) during this weekend to help take performing groups around the school, work as stage crew, etc. Pops – Pops is a fun, celebratory concert held in the gym at the end of the year. All the major music groups play and a variety of music is performed. There is some serious repertoire, but mostly fun things (examples of past repertoire include Disney songs, a Beatle’s medley, Godzilla Eats Las Vegas with an accompanying slide show). Dress is less strict than at other concerts. Girls generally wear a formal, prom-like dress. Boys wear a tux and more colorful bow tie. Suggestion: Choose light, breathable fabrics because the gym gets VERY hot. Secret Santa – Another Wind Ensemble tradition that happens around December is a gift-swap called “Secret Santa”. The band presidents organize a hat with each members’ name on a piece of paper. A hat is passed around during rehearsal and each person picks a name from the hat. You then become responsible for buying your chosen person a little gift (chocolate, something-musical, etc.). Once you’ve bought the gift, put it on the white board at the front of the band room and write the person’s name on the board. The ideal time frame for Secret Santa is to get all gifts distributed before winter break. 23 wise words “Get to know “Even though the people around you, pay everyone in wind en- attention when Mr. Leonard talks... semble is really good at their keep track of concert dates and DON’T instruments, you shouldn’t be too tell him the day before if you have a intimidated by them because major conflict. If you do these simple they are all friendly” things I promise you, you will have “I wish that the time of you life.” “Counting I had started making rests diligently is one friends with the other people in of the most important my section and surrounding sec- things you need to do.” tions sooner in the year because it makes band more enjoyable” “Knowing the scales really help. Once “Don’t let upper you know them, playing the classmen scare you too much. pieces in band becomes easier Do ask them questions and don’t be as well since you can recognize afraid to get involved in MICCA or some- patterns.” “Band is a col- thing else just because you see few people “Play confi- your age. That’s how you meet people. And dently during really, getting involved is the best thing sight reading” you can do.” laborative process… if you have an idea to do something fun or unusual... you want to conduct, add props or costumes, make slideshows, or play a specific piece, don’t be afraid to ask!” “It can be “If you are very time-consum- sincere, have ing around concert/per- a good idea, and are formance times.” persistent, you can see your ideas come into being.” 24 a final word Making music is an honor. Making music with others you care for is a great honor. Doing that to the very best of your ability is the ultimate honor. I am very excited to be able to work with you this year. Jefferey P. Leonard Wind Ensemble Director Within the walls of the LHS music department lie a tight-knit community and a stage to recreate yourself. The people are wonderful and the opportunities are many. I leave you with a quote that has been said to me many times by “You are never our wonderful director: given a dream without also being given the power to make it true. You may have to work for it, however” – Richard Bach. Best of luck everyone, Lina Colucci Class of ‘08 25 appendix A Scale Requirements Instrument Class Maj Scales & Arp Har Min & Arp Chromatic Scale Range Tempo Flute Freshman C,F,Bb,Eb,Ab,G,D,A,E None Low D to High G Eighths at 120 Sophomore All None Low C to High A Sixteenths at 80 Junior All C,F,G,D,A,E,F#,C# Low C to High Bb Sixteenths at 100 Senior All All Low C to High C Sixteenths at 120 Freshman C,F,Bb,Eb,Ab,G,D,A,E None Low D to High D Eighths at 120 Sophomore All None Low C to High Eb Sixteenths at 80 Junior All C,F,G,D,A,E,F#,C# Low Bb to High E Sixteenths at 100 Senior All All Low Bb to High F Sixteenths at 120 Freshman C,F,Bb,Eb,Ab,G,D,A,E None Low E to High C Eighths at 120 Sophomore All None Low E to High D Sixteenths at 80 Junior All C,F,G,D,A,E,F#,C# Low E to High F Sixteenths at 100 Senior All All Low E to High G Sixteenths at 120 Freshman C,F,Bb,Eb,Ab,G,D,A,E None Low E to 4th line E Eighths at 120 Sophomore All None Low Eb to G top of staff Sixteenths at 80 Junior All C,F,G,D,A,E,F#,C# Low Eb to High Bb Sixteenths at 100 Senior All All Low Eb to High C Sixteenths at 120 Freshman C,F,Bb,Eb,Ab,G,D,A,E None Low D to High D Eighths at 120 Sophomore All None Low C to High Eb Sixteenths at 80 Junior All C,F,G,D,A,E,F#,C# Low Bb to High F Sixteenths at 100 Senior All All Low Bb to High F Sixteenths at 120 Freshman C,F,Bb,Eb,Ab,G,D,A,E None Low D to D above staff Eighths at 120 Sophomore All None Low C to F above staff Sixteenths at 80 Junior All C,F,G,D,A,E,F#,C# Low Bb to Ab above staff Sixteenths at 100 Senior All All Low Bb to High Bb octave above staff Sixteenths at 120 C,F,Bb,Eb,Ab,G,D,A,E None Low G to 4th space E Eighths at 100 Sophomore All None Low F# to G top of staff Eighths at 120 Junior All C,F,G,D,A,E,F#,C# Low F# to High C Sixteenths at 80 Senior All All Low F# to High C Sixteenths at 100 Freshman C,F,Bb,Eb,Ab,G,D,A,E None Low G to 4th space E Eighths at 100 Sophomore All None Low E to G top of staff Eighths at 120 Junior All C,F,G,D,A,E,F#,C# Low C to A above staff Sixteenths at 80 Senior All All A below low C to High Bb Sixteenths at 100 Oboe Clarinet Bass Clarinet Saxophones Bassoon Trumpet/Baritone Freshman Horn 26 appendix a Trombone Euphonium Tuba Percussion Freshman C,F,Bb,Eb,Ab,G,D,A,E None Low F to D above staff Eighths at 60 Sophomore All None Low E to F above staff Eighths at 80 Junior All C,F,G,D,A,E,F#,C# Low E to Ab above staff Eighths at 100 Senior All All Low E to Bb octave above staff Eighths at 120 Freshman C,F,Bb,Eb,Ab,G,D,A,E None Low F to D above staff Eighths at 100 Sophomore All None Low E to F above staff Eighths at 120 Junior All C,F,G,D,A,E,F#,C# Low E to Ab above staff Sixteenths at 80 Senior All All Low E to Bb octave above staff Sixteenths at 100 Freshman C,F,Bb,Eb,Ab,G,D,A,E None Bb below staff to Eb 3rd space Eighths at 100 Sophomore All None G below staff to G 4th space Eighths at 120 Junior All C,F,G,D,A,E,F#,C# F octave below staff to Bb above staff Sixteenths at 80 Senior All All F octave below staff to Bb above staff Sixteenths at 100 Freshman C,F,Bb,Eb,Ab,G,D,A,E None Two octaves, alt sticking Eighths at 120 Sophomore All None Three octaves, alt sticking Sixteenths at 80 Junior All C,F,G,D,A,E,F#,C# Three octaves, Start both L and R Sixteenths at 100 Senior All All Three octaves, Start both L and R Sixteenths at 120 This document was put together in Adobe InDesign CS; figures and images were made using Adobe Illustrator 10; tables in Microsoft Excel; and text in Microsoft Word. (Lina A. Colucci) 27 28
