Matanzas High School
Mrs. Rachel Palmer
Director Matanzas Steel Bands
National Board Certified Teacher
3535 Old Kings Road North
Palm Coast, FL 32137
(386) 447-1575 ext 5121
palmerr@flaglerschools.com
January 6, 2014
From likeable tune to polished performance
– The Process of arranging a steel band cover and teaching it to an ensemble
Using a rote teaching method is a quick and painless method to hook your new students on the
enjoyment of performing music. As music educators our end goal is to spread the love of music
performance, foster an understanding of what it takes to be a music performer and to further
appreciation of the arts. While many music programs have feeder systems in which the students learn
and grow over a long period of time (ie, several years), my program is a performing arts elective taken by
high school students for one semester. I need to get them on their instruments, comfortable and
competent very quickly. After many trial and error runs, I have landed where I am today as the most
efficient and successful route to music performance for my students.
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Why do pop music?
Because it is fun. Why do music? Because it is fun! Are there some people out there who don’t
need to play the classics? Obviously. Are we more impressed by people who know more about
difficult elements of music? Of course!
But who speaks to the masses? Who makes people get up out of their seat and dance? Pop music.
That is why we write down lyrics, chords, rhythms and make cover versions of interesting songs.
That is why groups like Walk off the Earth are so popular! They have capitalized on well written,
catchy tunes, improve them, simplify them, tighten them up, jazz them up, add a bit of humor,
spice, or cardboard and make the message more clear. They make the tunes more catchy, the
words more singable, and give the rest of us hope that we could still be the rock stars of our
elementary and middle school day dreams.
Why teach by rote?
Teaching by rote gets kids playing music immediately. Our goal as musicians and music educators
is to inspire people to love music and desire to participate in music making activities. There are
many schools of thought (Suzuki, Waldorff) in which aural presentation and memorization are the
building blocks for quality performers. We speak and sing long before we read and write. Music is
the same. Reading should be a tool that musicians use to gain access to pieces, not the end goal of
a class. I think the focus on music has risen from our need to measure abilities in test taking
situations
Rachel Palmer, Matanzas Blue Steel, January 2014
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How to start arranging for your band:
1. Pick a song
You will need (suggested, not mandatory):
 Variety - melody, bass, rhythm, harmony, bridge,
 Repetition (Some) to make it easy to learn
 Playable lines
 Interesting bass
 Simple but catchy strum pattern options and drum set options
 Pick the tune with YOUR students in mind – You have to work with the band you have.
2. Listen to the song many times with the class. Point out what the sections are, verse, chorus, intro,
outro, bridge, variations, rap/rhythmic interlude, A B A C A D A, etc
3. Pick the most basic part of the song and figure out the key, usually the chorus or the bass line for the
chorus.
4. Figure out the other sections:
 harmony
 bass line
 chord progression
 rhythmic elements
 introduction
 end of tune
 which parts repeat to which sections
If there are variations, figure out what is varied and decide whether or not it is necessary to
include the variation (Sometimes one measure of difference is not enough to bother with in
a verse repeat). Keep in mind ways that the parts can be altered once you start teaching for
students who might need a little easier part (leave out a note here or there, or give them an
easier part, ie the second part on the tenor), or more challenging part, perhaps they can
include the echo portions of a tune, play harmony WITH the melody, add chord notes, etc.
5. Once you are relatively certain it will work, go ahead and start writing the parts in finale or other
software writing program – or just on regular staff paper like in the good old days.
 Transpositions, copying parts, transposing parts for harmony lines, and making quick alterations
in chords (one voicing might work better on one set of pans than the other, need to make sure the
parts are all covered) are just a few of the advantages of using a music software program. There is
also the benefit of listening to the parts being played back so you can check for accuracy.
If you are not sure how the parts should be divided up between sections, you might jot down some of it
on paper and try it out – either on your own or with the group. You are looking for things like:
 can this specific pan play this part physically?
 how does this chord voicing sound?
 Should this part be doubled by anther pan?
 Can this pan play this melody part in this range?
 Which pan can cover this line?
 Do we need to transpose it to fit the parts on the pan better?
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Can the instrument physically play this part (some things are easier than others on different pans,
difficult melody lines seem to fall easily on the double tenor but be difficult for the seconds, and
vice versa, make sure the right pan has the part – and don’t be afraid to fix it if you made a mistake
after they start learning it.)
* Should the guitars play split parts, either chord voicings, or harmony and melody parts?
* Which players are the strongest, do you have them in leadership positions for THIS tune?
Note: Sometimes players want to change instruments and if you are not paying attention you might end
up with a completely different set of players on lead (for instance if several of them traded parts) and you
might not have the strong players where you need them.
6. Get the basic outline of the parts on finale, then fill in the rest of the parts.
 This process could take several hours and multiple alterations, depending on the difficulty of the
parts, and the ability of the players to help you make choices. Once you think you are finished, go
back and compare parts. Inevitably there will be countermelodies that you missed, interesting
interjections, bridge pieces, drum set breaks, etc, that will make your arrangement more
interesting if you can manage to get them in. Keep in mind that this also increases the difficulty of
the piece.
7. Check the key for playability.
 Often times pop tunes are in 4 or 5 sharps and can easily be transposed to an easier key signature.
Watch the bass line so that you make the most using the range of your instruments (Low C or Low
Bb whichever you have). Also, watch the tenor range, stay middle C and above, but don’t go above
high F above the treble clef, if you can help it.
Keep in mind that tenor basses add tons of pitch to the bass parts, so if you don’t have them, you might
want to consider using an electric bass to support the bass line.
Always keep in mind the players you are arranging for, if you have strong guitar players, you might let
them double the melody or harmony instead of doing a strum pattern, etc.
Basic Rules for instrument parts:
 Tenor – range is only down to middle C
 Double tenor OR second should double the melody line, either in the same octave, or an octave
below. The other group (double tenor OR second) should play harmony or strum pattern. For a
low level class, it is a good idea to have them ALL play the same part. The more people you have
on the same part (unison parts) the easier it is to learn.
 Guitar parts should play supporting chord parts, root and third, or third and fifth usually, based on
range, playability, and enjoyment of movement.
 tenor bass always doubles the 6-bass part – this adds tone and fullness to the bass line.
 Chromatic scales are easy on: tenor, second, tenor bass
 Chromatic scales are more difficult on: triple guitar, 6 bass, and double tenor
 Try to use a key with 1-2 sharps or flats.
 Try to utilize the lower end of the bass capabilities.
Rachel Palmer, Matanzas Blue Steel, January 2014
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The art of teaching by rote
When you initially start to teach, if you have many non-music-readers, teach the whole group the same
part at the same time. Especially in the very beginning of a course; teach the entire band the guitar strum
patter and chord progression. Teach the entire band the melody line. Teach the entire band the bass line.
It helps their understanding of the piece, gives them more practice learning by rote, how to play their
instrument, gives them rhythmic or harmonic practice/refreshers, and keeps them all focused on the
music.
I generally teach them in a “Simon” fashion. Play two notes, add a note, play all three, add a note, play all
four, etc. IN RHYTHM! It is vital to ALWAYS teach the rhythm WITH the notes. If you don’t learn the
rhythm with the notes, the muscle memory will not be there and the student will essentially have to
relearn the part.
Once you get to a tipping point – usually between 8 and 12 notes, start again at a new spot where the
melody begins ON the beat. Avoid teaching by rote starting on an upbeat.
I have found in my longer period classes that it is handy to have 2 or 3 songs being learned at the same
time because you will reach the tipping point of new learning in a song and not be able to move any
further, but if you switch to a different song after 25 or 30 minutes, they can add more music.
The best situation for rote teaching is if you have a leader of each section that you can check octaves and
parts with who can pass that information on to the rest of the section.
Process for teaching a song (Moving AWAY from ROTE):
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Hand out sheet music
Students label their parts as necessary to assist them in reading while they learn (While we are
teaching, especially in the beginning, by rote, our end goal is to have independent musicians, so
throughout the school year teach them the music reading fundamentals – pitches and rhythms).
This helps ALL students in different ways. It is a helpful visual aid even for students who do not
read music easily. It helps give them a visual reference for rhythms and length of notes. I label my
parts for the first couple of months so that I can move more quickly into music making.
Point out key signature (sharps, flats, ties, etc)
Remind them not to label the tied notes.
Have them label the sharps and flats
Check their parts for labeling mistakes
Make sure they are using the proper clef
Point out rhythmic issues
Point out repeating patterns – both melodic and rhythmic
Remind them where the octave splits are for THEIR instrument on THEIR staff. It would be
helpful to * use a system of numbers with octaves to designate which octave you are talking about.
This will cut down on the confusion of “big G or little G? Or tiny G?”
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Which octave am I playing?
o For tenors (leads) the outer octave or “big notes” are from middle C to middle of the clef B
o For double tenors, the outer octave is below the staff and up to the bottom line E
o For Low G double seconds, the outer octave is from below the staff up to the first space
o For Low E Double seconds, the first octave is from below the staff to the D
o For Double Guitars, the “big notes” are from in the staff to middle C above the bass clef
o For triple Guitars, the “big notes” are IN the staff, the B and C above bass clef are the upper
octave
Once the parts are labeled, the students should take the sheet music to the instruments and try to
figure out parts of it.
Be careful that your students are learning parts correctly the first time, however, so check them
often and early.
o Independence is GREAT. Promote self teaching, peer teaching, figuring it out by ear, and
READING the MUSIC!
o Make sure the students are aware of what part on the page they are learning. If they don’t
know which part they are reading, the music is of no use to them and they cannot use it as a
tool.
Students lacking confidence, skill, independence, ets need to be helped earlier than students who
can work it out on their own.
IF the leaders in the class learn a part wrong, you may be stuck with it. Unlearning a part is much
more difficult than learning it right in the first place.
Octave jumps and rhythms are just as important as the right notes.
While they are learning their individual parts, make sure they are playing the rhythms properly.
Slow is okay, as long as the rhythm is there. Do not allow wrong rhythms at any time. Learn the
rhythm CORRECTLY along with the notes. It saves no time to leave the rhythm until later, as the
muscle memory will not be there.
When I teach rote parts, I teach in groups of notes that are close together, longer, or exactly the
same duration. Moving from C to D is twice as fast as the 3 C’s that preceeded it, for instance.
Watch octave jumps especially on the double tenor and second parts, as they have the most
opportunity for odd combinations of lower and upper (bigger and smaller) octaves.
Putting the ensemble together
As soon as they are able to play parts individually, have small groups play together, or better yet, whole
ensemble. Try not to do this before there is a general understanding by MOST of the players, but don’t
you don’t have to wait for everyone to get it completely. Once the whole group has played through it a
few times, it helps those still learning hear what is coming next. It is also helpful to let those who have
looked ahead play on. I usually say something like, “play as much as you can and then stop when you get
lost, sing along or air pan.” If you don’t tell them to stop when they get lost, them may start just playing
anything random, thus negating the plan for letting them hear what comes next, whether it is by you
singing or playing the parts as the director, or by some members in the band who can keep going.
Continue working individuals, small group, large group, wherever there is mass difficulty. Hopefully you
can depend on fast learners and music readers in the group to keep things moving forward quickly. If
you have to teach every note to every player, it takes a long time and restricts the difficulty level that you
will be able to perform.
If you have a particular group that is having major difficulties, work just that group. Guitars for instance.
Hopefully you have your band set up so that similar parts are together in the room specifically for this
type of rehearsal. If mostly one person needs help, work with just that person. If you have someone who
Rachel Palmer, Matanzas Blue Steel, January 2014
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is generally slow to catch on, teach that person before the rest of the band so that it is easier to move
forward as a group. People who need lots of help can benefit GREATLY from even a couple of days of preintroduction to a part, if you can afford the time and if you are organized enough.
Play whole group chunks of the music as soon as you can to show progress – assess group progress,
demonstrate the big picture parts to those who are still catching on.
Figure out the major parts of the piece, and call them by form names- intro, A section, bridge, B section,
chorus, verse, coda,
Playing the parts together as soon as you can will help the whole group to show accomplishment
Add drums as you can comfortably – be sure the drummer can adjust tempo as necessary to keep the
group together. Some drummers are fast, some slow – they need to be aware of the form of the piece and
act as directors on the drum set. They need to have the ability to subdivide so that they can stay with the
group and help hold things together.
Once the notes and rhythms are in place you need to polish the song – dynamics, dance, have fun, give BIG
rewards for DANCING!
Ways to challenge advanced players
 Add double stops
 Harmonize melody or add chord notes, octaves,
 Change parts to be more interesting to play (listen for extra things in the original that you left out)
 Add the melody part instead of strum patterns or bass line
 Move the player to a pan with a more difficult part
Ways to simplify
 Make the rhythm more simple.
 Take out syncopation as much as necessary
 Take away double stop or octave
 Split parts if you need to have the chord tones covered
 Give easy melody parts for students with rhythm Difficulty
 Melody parts are easier for students with rhythmic difficulty
 Move the player to a back up lead pan
o I have 10 tenors. I rely heavily on 4 or 5 of them to play well, the other 4 or 5 don’t need to
be as strong
 You may need to simplify parts for students to be successful. This can be a touchy subject though,
and needs to be handled carefully or you may hurt the feelings of the person you are simplifying
the parts for. If it can be handled so that it seems you NEED the part to be changed because
something is missing, can’t be hear, needs to be supplemented, etc. you may avoid a conflict.
Generally putting people on a melody is an easier move than putting them on a rhythmic guitar
strum, although the opposite might seem true.
 Sometimes changing the pitches can be enough to simplify. I often blame the layout of the notes
on the instruments for needing to change parts. Harmony notes, inverted chords, simplified
chords, taking away one note of a double stop, splitting the parts, etc.
Rachel Palmer, Matanzas Blue Steel, January 2014
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Know your players strengths and move them if it will make the student more successful
 Guitar parts need to have a strong rhythmic sense – trade them in and out of the engine room so
that they can work on their sense of rhythm.
 Watch for kinesthetic learners – make sure they learn it right the first time. Relearning parts are
much more difficult than taking the time to learn it right the first time. For instance, Jane Doe –
she can play any part, but if she learns it wrong, she can’t undo it.
o It gets deeply embedded the first time, whether it is right or wrong and can’t seem to
change it.
Drummers need:
 Confidence
 Sense of rhythm
 Independent body parts
 Knowledge of the song
 Ability to play variety of tempos
 Awareness of the whole groups musical progress
 Ability to do fills
 Ability to produce a variety of styles – calypso, rock, country, soca, etc
 The ability to take constructive criticism – slow down, speed up, drive the band, pull them back,
play soft, play loud, harder, more fill, more highhat
 Drum vocabulary – bass, snare, highhat, ride cymbal, tom, foot pedal
 Need to subdivide all the time and know where ONE is.
Some drummers intuitively go with the group – majority rules is very important in early learning process.
When the pans are trying to get their parts learned, they need to have a little bit of flexibility in the
tempo.
Drummers need some instruction and some allowance to experiment class needs to be patient with the
drummers as well. Sometimes transitions are difficult, sometimes rhythms are different. It is very
visable, and they sometimes have big egos, be careful not to squash them . Ego squashed drummers do
not perform well.
Drummers should be required to learn the part on a pan, always. Drum later, pan first. This gives them
an awareness of the form, as well as something to do while everyone is learning the notes. If you don’t
have enough pans, consider splitting your guitar parts between engine room and guitar parts, alternating
playing on the guitars and playing engine room percussion or drum set. This also improves the rhythmic
sense of the guitar players. Drum set players usually like to play drum set but don’t always want to HAVE
to be the drummer. It is nice to have back up options.
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