Building

Better Bands
2017 June 15-16
at Ronald W. Reagan High School in Pfafftown, NC
Hosted by Separk Music
With Special Thanks to Conn-Selmer, Inc., FJH Music,
GIA Publications, and Hal Leonard Publishing
 10:00 AM Registration
11:00 AM If You Play Something, Say Something w/ Brian Balmages
12:30 PM Lunch
1:15 PM Techniques for More Productive Rehearsals w/ Tom McCauley
2:30 PM Practical Warm-Up Techniques w/ Brian Balmages
*Playing Session*
3:45 PM Mythbusting: Teaching Single Reeds Successfully w/ Tracy Leenman
5:00 PM Every Child Achieves Act: A Call to Action w/ Phillip Riggs
6:00 PM Dinner
7:00 PM Conducting Masterclass w/ John Ross
*Playing Session*
8:30 PM Fellowship at River Ridge Tap House

Thursday, June 15
8:00 AM Breakfast
8:45 AM One Person Can Make a Difference/What Kind of Difference Does One
Person Make? w/ Tim Lautzenheiser
10:15 AM Conducting Masterclass Pt. 2 w/ John Ross
*Playing Session*
11:45 AM Lunch
12:30 PM "Creating a Positive Environment for Maximum Learning w/ Tim
Lautzenheiser
2:00 PM "Taming the Bundle of Twigs w/ Tracy Leenman
3:15 PM Selection, Programming, & Preparation of Repertoire w/ Tom McCauley
4:15 PM Final Words and Thanks

Friday, June 16
If You Play Something, Say Something w/ Brian Balmages

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Building Better Bands Seminar

June 15, 2017
Ronald Reagan High School
Pfafftown, NC

Techniques for a
More Productive Rehearsal
A session for band directors at all levels.

presented by
Dr. Thomas McCauley
Director of University Bands
John J. Cali School of Music
Montclair State University

New Jersey State Representative

College Band Directors National Association

Program Coordinator and Artistic Director

Windhaven
Weston, VT

Lets begin with some music

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Danny Boy
(Irish Tune from County Derry)

Some Things I Believe

One can never learn a score well enough.
You can never be too prepared.
You should say what you mean, mean what you say, and then stop talking.
We band directors need to have a frank discussion regarding the musical and
educational value of marching band.
You must have more than your work in your life.
Never ask anyone to do anything that you yourself are not willing to do.
Its what you DO that matters; not what you think about doing, or intend to
do, or want to do.
I have learned far more from my students than they could possibly have ever
learned from me.
I have rarely ever learned anything by talking. I have learned a great deal in
my life through listening, watching and doing.
All students want to feel appreciated, needed, protected, and that any
decisions one makes should be made in the best interest of the students.

Its All About You

As band directors, we have an amazing amount of influence on our students. It only
sometimes takes a small spark of improvement within an ensemble to fuel what will
eventually become a raging fire. You are their leader. If you believe in them and lead
them to what is possible, they will begin to believe in themselves. But
Before you can inspire with emotion, you must be swamped with it yourself. Before
you can move their tears, you own must flow. To convince them, you must yourself
believe.
Winston Churchill (1874 1965)
Many of the young students in your ensembles dont listen to or respect their own
parents, so why in the world would they listen to or respect you? They will listen to
and respect you because:

You have their best interest in mind and are willing to go above and beyond
the call of duty to accomplish what you believe is best for them.

You are fully and completely committed to what you do and in the repertoire
you choose.

You are fair and consistent in your treatment of all.

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You are a model of self-improvement and high self-expectations.

Students will enter your classroom with the expectation that something
wonderful and beautiful is about to happen.

You never ask anyone to do something that you yourself are not willing to do.

When classroom problems occur, you always look inward to examine if it

was you who caused this problem.

Progress is impossible without change, and those who cannot change their minds
cannot change anything.
~George Bernard Shaw

Just because something is tradition doesn't make it right.

~Anthony J. D'Angelo, The College Blue Book

The most damaging phrase in the language is: "It's always been done that
way." ~Grace Hopper

Those who dare to teach must never cease to learn.

John Cotton Dana
The Plan
The First Ten Minutes

Slow Piece

Announcements (Band Biz)

The Center Piece

Announcements II (if needed)

Opener

The First Ten Minutes

The goals of the first ten minutes are to:
Have each ensemble member listen to each other and themselves.
Establish the expectations for the rehearsal in terms of sound, pitch, balance,
and individual responsibility.
Make soft, beautiful sounds.

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Strengthen the communicative bond between conductor and ensemble.

Step 1
Long Tones
This is better known to most as the Remington Exercise. For most groups, I provide
a clearly audible, electronic pitch to be used as the base for our work together.
Providing a pitch base from a consistent source is VITAL because you cant expect a
student to listen if you do not provide information about to whom or what to listen.
I allow this base pitch to continue to play during most of the session so that when
there is a break between exercises, the base pitch is continually burned into the
minds of the students.

I insist that it be played as softly as possible while still making the most beautiful
sound of which they are capable, and that the sound of the band is CONTINUOUS.
Students may breathe whenever and wherever theyd like EXCEPT when we change
pitches. They are encouraged to make their individual sound disappear into the
sounds around them. These rules hold true for all of the steps that follow.

We normally continue this exercise down to Ab concert:

This unison / octave exercise should of course be played in the most comfortable
octave for each instrument. As you do it, do not accept anything other than the most
beautiful, in-tune sound of which the ensemble is capable with no individual sounds
sticking out of the texture.

Step 2
Scale
Once we arrive at Ab concert, I take about 5-10 seconds for them to rest, change my
electronic pitch to Ab, let them listen to it for a second or two, and begin playing a
unison/octave Ab concert scale. I use the Ab scale because it lies better on most
instruments, has a warmer sound, and mostly because it is NOT the Bb concert scale.
Our students have, in many cases, been playing the Bb concert scale as a warm-up
in their various band programs for years. This is a classic case of familiarity
breeding contempt. Some of our students have an ingrained aural image of what a
Bb concert scale should sound like. With Ab (or any other key I suppose) you need
not reprogram the students aural images. This scale should be played exactly in the
manner used to describe the Remington above; Soft, CONTINUOUS sound.

Step 3
Rhythm and Articulation

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Using the same Ab scale, we now merge into a rhythm, articulation, and awareness
exercise. Again, be certain that the band continues to play as softly as possible while
still making the most beautiful sound of which they are capable, and continue to
expect each player to fit their individual sound into the sounds around them.

Feel free to change the tempo of this exercise daily. You may also feel free to change
the articulation each day. You may choose to approaching it slowly and legato one
day, and fast and leggiero the next. When I make changes to this exercise, I normally
dont tell the group beforehand. I will simply try to SHOW what it is Im after
(longer, shorter, lighter, heavier, etc) through the manner in which I move on the
podium. Did anyone notice what I was trying to tell you there? Another good way
to teach style of articulation is to say,

Lets play this as if it were written by Mozart.

Lets play this as if we are skipping over the notes.
Lets play this as if we are reluctant to leave each note.
Lets play this as if each note weighs 100 pounds.
Lets play this as if we are in a hurry.
Lets play this as if we are accompanying a soloist.
Lets play this as if it were a love song.
Lets play this as if the notes were glued together.
Lets try to make silence between each note.

Step 4
Scale Chorale
Many of us already use this in our rehearsals. For those who havent, divide the band
into three groups:

Group 1: Tubas, Euphoniums, Trombones, Bass Clarinets, Bassoons, and Baritone

Saxophone

Group 2: Horns, Alto Saxophones, Tenor Saxophones, 2nd and 3rd Clarinets, 2nd and
3rd Trumpets

Group 3: Piccolo, Flutes, Oboes, 1st Clarinets, 1st Trumpets

All groups should begin on the first note of the scale but at different times, forming
changing triads as you ascend. Once a group reaches the top note of the scale, they
should begin to descend.

Insist that they continue to abide by the rules above. They should be
encouraged to listen as far away from themselves as possible and to try to listen for
someone in another section who is playing their same pitch.

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Additional Considerations
1. One of your main goals should be to expect your group to take full responsibility for
the musical elements of which they, and they alone, have control: pitch, balance, beauty
of tone, rhythmic accuracy, and the inevitability of musical line. To accomplish that goal,
ask questions, such as:

Tell me one thing you liked about what we just played.

Tell me one thing you didnt like.

Did that sound together to you?

Does anyone know why I stopped you?

Who has the melody here?

What musical role are you playing?

Did anyone notice what I was doing there?

Someone describe the music we just played.

2. In addition to accomplishing well-defined musical and technical goals for the group,
your intention should be to accomplish three additional goals during every rehearsal. The
three additional goals should at the very least have the following attributes:

Attribute 1 One Moment of Beauty

Attribute 2 One Moment of Realization

Attribute 3 One Moment of Fun

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3. Soloists from within the ensemble are placed in a particularly vulnerable position
during rehearsals. I sometimes view them as skittish cats that can be spooked by sudden
movements. Try to leave soloists alone during the actual rehearsal. If I do cast a glance in
their direction, its only to communicate support for their efforts. If I need to discuss a
soloists performance or preparation, I do so outside of the rehearsal setting. Very few
good things result from singling out a soloist during rehearsal. You should spotlight them
only for praise and encouragement.

4. Remember that there is no substitute for preparation, musicianship, and sincerity on the
podium.

5. After each rehearsal, evaluate what went well, what didnt go well, and begin planning
for the next rehearsal.

6. Each time you stop the band, have a reason and communicate that reason to the
ensemble. If you simply say, Lets go back to letter A, without setting expectations for
improvement, you will get exactly what you just heard. You are now officially wasting
their time and yours. If you must go back because you made a mistake, admit it to
yourself and to the group. Most of the time, they already know it was your fault.

7. Have your rehearsal space prepared and ready to go when the students arrive. This
sends the signal that you are ready for them and cant wait to get started.

8. To make the atmosphere more pleasant, use language like:

Lets go back and listen to.... rather than I need to hear....

Could we please try.... rather than Go back to ...

Also, dont forget to say please and thank you as often as you can. Not only does this
help to set a more professional working environment, but it also indirectly teaches the
students how to interact with one another. Your goal is to make each rehearsal not about
you, but about the students and the music.

Democratic VS Dictatorial
The democratic ensemble directors are as responsible for musical vision and building and
maintaining a culture of excellence as were their predecessors from days gone by. But the
journey toward these ideals is quite different. Here are a few examples:

Dictatorial: Make a crescendo that begins in measure 15 and culminates on the second
beat of measure 16.

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Democratic: Where do you believe the music that begins in measure 15 is going? How
can we shape this phrase so the culmination is clear to the listener? How must we adjust
our ensemble balance to make it clear? Why do you believe the composer made this
musical choice?

Dictatorial: Softer there, accompaniment!

Democratic: Who among us is playing the theme at letter C? Can you hear them? Do
you believe the listener can hear that theme?

Traditionally, the when, what, and how of ensemble performance have been the focus of
the dictatorial mindset. The more inclusive, democratic approach certainly must address
these issues, but it also focuses far more on the why of music preparation and
performance:

Why must a crescendo happen?

Why must we listen to a particular sound at a particular time?

Why does this note have a certain importance in one phrase,

but serves a totally different function in another?

Why must we humor the leading tone toward its intended

destination?
The ultimate goal of this approach is to develop a keen sense of ensemble awareness
among the students and to encourage and, indeed, expect them to make informed and
intuitive musical decisions, particularly with regard to pitch, balance, and inevitability of
musical line. It encourages increased individual responsibility from every member of the
ensemblenot through fear, but through a deeply felt physical, mental, emotional, and
spiritual investment on the part of each student in the musical outcome.
The dictatorial conductors goals included the development of a well-oiled, musical
machine whose performances are technically flawless and musically satisfying upon
initial hearing. One might discover, however, that a second hearing would provide little
interest

9. Dont say something is good if it isnt. Many band directors use this word each time
they stop the ensemble. Your students will tend to believe what you say. If you tell them
that they are good when theyre not, they will learn to not trust you. Or worse, they will
think they really are good, and you have just set the bar way too low. This is just a habit,
and habits can be changed. When you stop, instead say, Thank you. Its polite and not
misleading in any way. This way, when you do finally say, Good, it will have an
impact and actually mean something.

10. If you reach a point in a rehearsal when you have tried all you know, but obvious
improvement is not happening, tell your students, Im going to think about this some

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more and will get back to you tomorrow. Before the next rehearsal, devise some
exercises that might help get your point across and implement them at the next rehearsal.

11. Try rehearsing a piece in reverse. Rehearse the ending first, and work back from
there. Start with the return of the A section because it will make rehearsing the first A
section easier. Then focus on the B section, then the coda, then the first A section, and
then the introduction.

12. If the piece you are planning to rehearse contains unusually difficult passages for
certain sections of the ensemble, begin work on those sections early in the rehearsal
process. Give students an appropriate amount of time and advanced notice to prepare on
their own, but dont wait too long before slowly trying to bring that particular portion of
the piece to life.

13. If a portion of a piece requires that individuals from different sections play as a small
chamber ensemble, have those individuals sit together during a part of the rehearsal. Be
creative with your seating arrangements, and dont be afraid to make a change to help
facilitate the composers musical intent.

14. Im not a big fan of choosing repertoire based on the idea that the percussionists
need to have something to do. Your percussionists chose to be percussionists. A big
part of a percussionists life is being patient and counting rests. However, if I have a
choice between programming a piece that includes active percussion parts and one that
doesnt (with all else being equal), I will program the more active percussion piece. If it
turns out that you have selected a program with few musical and/or technical challenges
for your percussion section, then consider programming a percussion ensemble piece on
that concert. Rehearse it before school, after school, during lunch, or (if possible) during
your regularly scheduled rehearsal time.

15. When rehearsing the end of a piece, do not play the last note unless you are done
working the ending or you are rehearsing the last note. It is frustrating for young players
to finish the piece and then have you say, Okay, everybody, back to letter A.

16. Pay attention to what is happening (or not happening) in the percussion section. Take
advantage of every opportunity to include percussionists in the rehearsal process. They
need to feel that what they are playing is part of the whole, rather than something apart
from it. Be attentive to the sounds they are creating and the manner in which they are
creating them. Know and be able to demonstrate the techniques required for a beautiful
cymbal crash or triangle hit (its not easy!). Practice every instrument yourself so you can
give specific tips to your players.

17. Sometimes before beginning the rehearsal process on a challenging piece, I play a
high-quality recording of the piece for the ensemble. Sometimes playing the recording is
all I do on the first day. In addition to showing students what is possible, playing a good-
quality recording will help burn an impression of the sound of the piece into their

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memories. Having excellent musical role models is extremely important for musicians of
all levels!

18. Teach your students how to practice. They will learn this through the manner in
which you rehearse. Point this out during rehearsals by saying, Did you notice how we
just rehearsed that thorny passage? We extracted it from the piece, worked on it slowly,
and then put it back into context. This is how you should practice at home.

19. As each rehearsal progresses, you may find that tone quality, pitch, and balance of the
ensemble diminish. This is where your work in the first ten minutes of rehearsal becomes
a valuable ally. Use the sound they created in the sensitivity session as your base, and
refer back to that when things arent going well.

20. Take every opportunity to compliment the group or individuals within it. Compliment
even the slightest observable improvement. Again, make sure the compliment is specific
and directed at specific people. Good job or Well done are empty compliments that
dont help students think about the larger picture. Of course, dont compliment any group
if its undeserved. However, a creative teacher can almost always find something to
compliment. For example:

I really like the way your are concentrating there. Keep it up!

Letter A is much better than it was yesterday.

Its obvious that you have worked on that passage. Keep

going!

You all have come a long way on this piece and, although
we still have a way to go, you are to be congratulated on
your efforts.

I really liked the way in which you attempted to match pitch

on that note. Now, can we please try...

I really love those shoes!

Sometimes a gesture as simple as saying hello in the hallway as classes change or a

warm smile in a students direction can go a long way toward improving students
attitudes when they are in rehearsal.

21. I recently (way too late) began writing and sending rehearsal notes to my group after
certain rehearsals. The notes usually include suggestions for improvement on specific
portions of the works we are rehearsing. This is a real timesaver and sends an unspoken
message to the group that if they read and implement the suggestions in the notes,
rehearsals will be more effective and interesting. These are sometimes time consuming to

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complete, but its important for your students to see that you are investing at least as
much time as you are asking them to commit.

22. Be sure everyone is aware of the rehearsal order each day. This can be posted at the
beginning of each week and adjusted as needed. Minimally, you should post the rehearsal
order on the board before every rehearsal (along with the daily announcements).

23. Have a non-verbal cue to begin each rehearsal. I use the podium. I stand near the
podium making small talk with students before each rehearsal, and when I want to begin,
I simply stand on the podium. It may take a while for all students to begin responding to
this cue, but in the end, it is a great timesaver. It also sends the message that when I stand
on the podium, our music making begins. For this to be effective, however, I cant stand
on the podium for any reason prior to the start of rehearsal. I also try to limit any talking
while on the podium, if at all possible. If I have something to say that might take a minute
or two to express, I step off the podium to say it.

24. Sometimes the most effective way to get your group to play together is to stop
conducting. Let students start themselves and play without any visual stimulation from
you. This forces them to become more aware of what is happening around them. If it falls
apart, let it, and then begin again. Get off the podium and walk around the room while
they do this. You will learn a great deal about your group. You will find that they play
much better without you. Dont take it personally. With the absence of visual input from
you, their aural awareness immediately improves. Use this tactic every day, and your
students will become more sensitive and responsive to balance, pitch, rhythm
everything.

25. Try conducting a silent rehearsal where you dont say a single word. Aside from
this being really valuable for your personal improvement as a conductor, it also forces
your ensemble to heighten their awareness of what is happening on the podium and in the
room. Other than a simple, Good afternoon, I normally dont speak my first words to
the group at least until after the first ten minutes have elapsed.

26. To enhance your effectiveness on the podium, make a video recording of each
rehearsal. Evaluate your effectiveness as objectively as you can. Make a personal plan for
improvement each day. This not only helps you, but it also sends a powerful signal that
you are always trying to personally improve. Again, if you expect your students to
practice and improve, you must lead by example.

27. On occasion (I usually do this after several rehearsals on a piece), I make an audio
recording of the group playing through a work in its entirety. Then I play the recording
for my ensemble and ask them to take notes on the following:

How they might improve their individual performance

How we might improve the group as a whole

After listening to the recording, we have a short discussion about what

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they just heard. I sometimes repeat this process as the performance draws
near. Its important that students hear their improvement and identify the
areas in which more improvement is required. This exercise can be very
enlightening for everyone involved.

28. Holding sectional rehearsals is extremely valuable, but sectionals are only valuable if
there is a plan and a leaderand if everyone is present. Sectional rehearsals provide
students with an opportunity to learn to lead, to follow, to focus on passages in the music
specific to their instrument, and to adhere to a specific plan for improvement. Ask
principal players to formulate a lesson plan for their sectionals, complete with observable
outcomes. This is just another method to help students assume responsibility for
themselves and their colleagues.

29. Use students names in rehearsal whenever possible. Addressing students by their
given name rather than as an instrument (First trumpet, let me hear...) sends the
message that you consider them not just players, but also people.

30. You know the saying, There is no such thing as a stupid question? In my
experience, this isnt true. I am asked questions on a daily basis that could easily be
answered if the questioners just took a moment to think about what they were asking.
Encourage your students to seek out answers for themselves before interrupting the flow
and rhythm of a rehearsal.

31. If you find that most of your rehearsal time is dedicated to fixing the band in terms
of notes and rhythms rather then focusing on musical issues, then the piece you have
chosen is too difficult for your group. Choose wisely! And if all else fails, dont be afraid
to abandon ship!

32. Remember that you deal every day with young people who are still works in progress.
Your students abilities to reason and fully understand the consequences of their actions
are not yet fully formed. When I encounter a challenging student, I try to remind
myself that the person I am talking to and working with today does not necessarily
possess the ability to conceptualize like he or she will have ten years from now. This does
not lower my expectations of a student, but it helps me to remain calm during the more
trying times.

33. It bears repeating that none of the above suggestions and plans will work if you as the
conductor are not completely prepared for each and every rehearsal. That said, there
might certainly be an occasion when you will need to enter a rehearsal situation for which
you are not as prepared as youd like. I simply admit this to the group beforehand and ask
that they try to be as patient and as helpful as possible. Keep in mind, though, that you
cant get away with this too often before you begin to lose the respect of the group. Dont
try to fool the group. It never works.

Suggested Reading

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Barber, Charles. Corresponding with Carlos: A Biography of Carlos Kleiber. Scarecrow

Press, 2013.

Battisti, Frank L. The Winds of Change. Galesville, MD: Meredith Music Publications,
2002.

. On Becoming a Conductor. Galesville, MD: Meredith Music Publications,

2007.

Blum, David. Casals and the Art of Interpretation. Los Angeles, CA: University of
California Press, 1977.

Casey, Joseph L. Teaching Techniques and Insights for Instrumental Music Educators.
Chicago: GIA Publications, Inc., 1991.

Csikszentmihalyi, Mihaly. Flow: The Psychology of Optimal Experience. Harper

Perennial Modern Classics, 2008.

Elliott, David J. Music Matters. New York: Oxford University Press, 1995.

Jurrens, James. Tuning the Band and Raising Pitch Consciousness.RBC Publications,
1991.

Company, 2002.
Leinsdorf, Erich. The Composers Advocate: A Radical Orthodoxy for Musicians. Yale
University Press, 1982.

McBeth, W. Francis. Effective Performance of Band Music. Southern Music Company,

1972.

McGill, David. Sound in Motion. Indiana University Press, 2009.

Schuller, Gunther. The Compleat Conductor. New York: OxfordUniversity Press, 1997.

Williamson, John E. Rehearsing the Band. Meredith Music, 2007.

Zander, Rosamund, and Benjamin Zander. The Art of Possibility. New York: Penguin
Books, 2002.

Thomas McCauley is currently the Director of University Bands in the John J. Cali
School of Music at Montclair State University in New Jersey where he conducts the
Montclair State University Wind Symphony and Symphonic Band, and teaches both
graduate and undergraduate conducting. He has held similar positions in the states of
Indiana, Ohio, and Illinois in addition to teaching high school instrumental music in

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Nevada for nine years. Composers including Karel Husa, David Gillingham, Joseph
Turrin, Bruce Yurko, Robert Aldridge, Morten Lauridsen and ONeal Douglas have
praised his work. In December of 2010, Dr. McCauley appeared as a clinician in Chicago
at the 64th annual Midwest Clinic. Each November, he hosts and teaches a symposium at
Montclair State University called the Weekend Wind Conducting Symposium with special
guest clinicians and participants from around the world.

Dr. McCauley is in demand as a guest conductor, clinician, and adjudicator throughout

North America. Ensembles under McCauleys direction have appeared at national and
regional conventions and conferences, and he has collaborated with artists including The
Imani Winds, The Manhattan Brass Quintet, Warren Vache, Demondrae Thurman, and
Phil Smith.

Dr. McCauley has been published in The Instrumentalist magazine, several state music
magazines, and in the second edition of Teaching Music Through Performance in Band,
Vol I published by G.I.A. publications. In 1995, the Nevada Music Educators
Association named Dr. McCauley Music Educator of the Year and in 2006, the Indiana
Music Educators Association honored Dr. McCauley with an Outstanding University
Music Educator Award. Dr, McCauleys book titled, Adventures in Band Building (or
How to Turn a Less-Than-It-Could-Be into a More-Than-It-Should-Be) is published by
G.I.A. Publications. He currently serves on the Executive Board of the New Jersey Band
Association, the New Jersey State Representative of the College Band Directors National
Association, and is the former New Jersey State Representative of the National Band
Association. He is also an active member of the World Association for Symphonic Bands
and Ensembles, and the National Association for Music Education

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Mythbusting: Teaching Single Reeds Successfully w/ Tracy Leenman

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Every Child Achieves Act: A Call to Action w/ Phillip Riggs

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One Person Can Make a Difference/ What Kind of Difference Does One Person Make?
w/ Tim Lautzenheiser

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Creating A Positive Environment for Maximum Learning w/ Tim Lautzenheiser

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Taming the Bundle of Twigs w/ Tracy Leenman

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Selection, Programming, & Preparation of Repertoire w/ Tom McCauley

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Selection, Programming, & Preparation of Repertoire w/ Tom McCauley

Building Better Bands Seminar

June 16, 2017
Ronald Reagan High School
Pfafftown, NC

The Selection, Programming, and

Preparation of Repertoire
A session for band directors at all levels.

presented by
Dr. Thomas McCauley
Director of University Bands
John J. Cali School of Music
Montclair State University

New Jersey State Representative

College Band Directors National Association

Program Coordinator and Artistic Director

Windhaven
Weston, VT

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Other than the actual teaching of your students, the selection of repertoire is
perhaps the most important task a band director undertakes. Your programming
plan should mirror the five-year plan for your band program. You are, in essence,
programming for the process of band building. Your repertoire is, in fact, your
curriculum. Today, there are literally thousands of new works published for band
each year. Many of them are the same piece with different titles, and so its more
important than ever that band directors make wise repertoire choices. My
programming decision-making process has been the same for many years and has
been employed for use by both high school and university band programs.

Learn all you can from the mistakes of others. You won't have time to make them all
yourself.
~Alfred Sheinwold
Programming for the Process
Each piece you program should be a link in the chain that connects your current bands
to the bands you want to have. Recruitment, retention, and choice of repertoire are the
most important tools used to build band programs.

Product VS Process
In a professional musical organization, we have rehearsals because we
have a concert. In an academic-based musical organization, we have a
concert because we have rehearsals.
We are not in the concert business
We are in the EDUCATION business.
IT IS ALL ABOUT THE PROCESS!

Programming for One Ensemble

Opener
Slow Piece
Evocative Piece (opt)
Soloist (opt)
Intermission
Large Piece
Closer (opt)
Sample Program:
Stamp....Gavorkna Fanfare
Lauridsen / Reynolds..O Magnum Mysterium
Haydn / Hunsberger.Concerto for Trumpet in E-flat
- - - - - INTERMISSION - - - - -
Varese....Octandre (for 8 Instruments)
Colgrass...Winds of Nagual
Bernstein / Grundman.Slava!

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Programming for Two Ensembles

Sample Program:
Stamp...Cenotaph Fanfare
WileyOld Scottish Melody
Jager.Third Suite
Reed.Armenian Dances (Part 1)
- - - - - INTERMISSION - - - - -
Dvorak.Serenade in D Minor, Op 44
Grainger..Colonial Song
HusaMusic for Prague 1968

The Concert Menu

Appetizer
Soup
Salad
Main Course
Dessert
Building a concert program is much like planning a several- course meal complete
with appetizer, soup, main course, and dessert. We need sweet, savory, rich, and
light offerings on the menu. If all of the courses taste the same, your restaurant will
eventually fail. Following is a sample menu with some recommended titles for each
level. Also, I have found the following resources to be very helpful in finding
additional repertoire:

GIA Publications (www.giamusic.com) Teaching Music through Performance

in Band Series

J. W. Pepper (www.jwpepper.com)

Manhattan Beach Music (www.manhattanbeachmusic.com)

Best Music for Beginning Band, Best Music for Young Bands,
Best Music for High School Band

FJH Music Company (www.fjhmusic.com)

C.L. Barnhouse Company (www.barnhouse.com)

Neil A. Kjos Music Company (www.kjos.com)

Daehn Publications (www.daehnpublications.com)

Alfred Music (www.alfred.com)

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Grand Mesa Music (www.grandmesamusic.com)

TRN Music (www.trnmusic.com)

Southern Music (www.southernmusic.com)

Appetizer
When I taught marching band, a really great band director told me that it was
important that our field show, no matter how it began, should contain the first big
musical moment within the first thirty seconds. You should approach the opening
piece on a concert program in much the same manner. Whether its a fanfare, a
march, or an overture, the first piece should show what the group can do and leave
the listeners looking forward to the remainder of the meal.

A few examples:

EASY:

Rob Grice Shine

James Curnow Suncatcher

MEDIUM:

Ralph Vaughan Williams Flourish for Wind Band

Jack Stamp Cenotaph

ADVANCED:

Jack Stamp Gavorkna Fanfare

Richard Strauss Vienna Philharmonic Fanfare

Shafer Mahoney Sparkle

Paul Dukas Fanfare from La Peri

Dmitri Shostakovich/arr. Hunsberger Festive Overture

Leonard Bernstein/arr. Grundman Overture to Candide

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Soup

The slow piece on the program should highlight tone, musicality, and sensitivity of
your ensemble. If approached with love, commitment, and consistency in rehearsal,
this piece will not only help your students improve exponentially in terms of sound,
listening, and expression, but placing it in this spot on the concert program will help
your listeners realize that they are in for an interesting evening of music making.

A few examples:

EASY:

David Holsinger A Childhood Hymn

MEDIUM:

David Holsinger On a Hymnsong of Philip Bliss

Jacob De Haan Ammerland

Larry Daehn As Summer Was Just Beginning

Percy Grainger/arr. Bainum Australian Up-Country Tune

ADVANCED:

Johannes Brahms/arr. Buehlman Blessed Are They

Percy Grainger/ed. Rogers Colonial Song

Percy Grainger Irish Tune from County Derry

William Bolcom Song (for band)

J. S. Bach/arr. Reed Come, Sweet Death

Richard Wagner/arr. Votta Trauermusik

Richard Wagner/arr. Cailliet Elsas Procession to the Cathedral

Salad

(SOLOIST / GUEST CONDUCTOR)

Learning how to accompany a soloist is extremely valuable for both your ensemble
and you. Try to invite a soloist to appear on your concerts as often as possible. It is
an educational experience because a guest soloist or conductors point of view
almost always brings a fresh perspective on the repertoire.

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Main Course
This is the meat of your concert program. This piece should challenge your
ensemble musically, technically, and emotionally. This is the piece around which all
of the other pieces are assembled. It is longer, more complex, and should challenge
the performers as well as the listeners to think and feel in new ways. Few main
courses arrive at the table without some sort of vegetable included. Dont shy
awayfrom dissonances, improvisation, or unique instrumental timbres when
selecting, preparing, and performing this piece. Ive called it evocative for a reason.
This is the opportunity for your students and your listeners to experience new
tastes and textures.

A few examples:

EASY:

Hugh Stuart Three Ayres from Gloucester

Timothy Broege Sinfonia Six

MEDIUM:

Norman Dello Joio Scenes from The Louvre

Elliot Del Borgo Do Not Go Gentle into That Good Night

ADVANCED:

Percy Grainger Lincolnshire Posy

J. S. Bach/arr. Hunsberger Toccata and Fugue in D Minor

Michael Colgrass Winds of Nagual

John Mackey Redline Tango

Paul Hindemith Symphony in B-flat

William Bolcom First Symphony for Band

Charles Ives/arr. Schuman Variations on America

Arnold Schoenberg Theme and Variations, Op. 43

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Dessert

If time allows, this is the place to include the sweet on the concert menu. It should
be short, light, and to the point. It is not necessary, but it is a nice conclusion to a
satisfying dining experience.

A few examples:

EASY:

Warren Barker A Galop to End All Galops

MEDIUM:

Dmitri Shostakovich Galop

ADVANCED:

Dmitri Shostakovich/arr. Reynolds Folk Dances

Selling Your Choices

YOU are the best salesperson for your rep

Captain Underpants VS Shakespeare

Carrots

Context / Recordings

Rehearse it as if it is the best piece ever written!

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Study and Preparation

Our Goals:
1. To know each piece as if we composed it.
2. To enhance each students ensemble awareness and good listening through
our knowledge and internalization of the score.
3. To recreate the story the composer is trying to tell.
4. To show your students what is possible.

Why Study?
Study is the great equalizer.
Analysis IS performance.
You study so you can interact with the music.
You study so that you and your students can have the most profound
experience possible.

My Study Method
The only substantial way to obtain a specific, clearly defined vision of any work is
through careful, constant score study. There are as many ways to internalize a score
as there are people who internalize them, but regardless of the methods used, the
outcome must always be the same. Conductors must be able to hear their vision of
the piece loudly inside before stepping onto the podium for the first rehearsal. The
method I currently use to internalize a score comes most directly from Dr. Mallory
Thompson, who I had the privilege to study with during my doctoral residencies.

This score study method consists of three distinct levels:

DISCOVERY

IMAGINATION

INTERNALIZATION

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DISCOVERY
How does this go?
Pre-Study Activities:
1. Composer background
2. Background of the piece / significance of the piece / what else was the composer
working on at the time?
3. Other pieces by same composer

Ive found it helpful to either; write all of this stuff in / on the score itself, or keep a
file on each composer that you throw in occasional articles, etc.

Discovery Study Activities:

1. Peruse and Play-by-Play
When attempting to learn a new piece, it is important to begin to first
understand the big picture. To begin this process:
a. With your legal pad at your side, begin paging through the score,
note anything on the legal pad that catches your eye (major structural
points, solo moments, key changes, tempo changes, etc.)

b. Look through the score again. This time, write (in prose) a play-by-
play of the piece on the legal pad. Approach it as if you writing a
letter to someone for whom you were trying to describe what
happens in the piece.

2. Large Form
After completing the process above, begin looking more closely and begin to
discover how the piece is constructed. Use your legal pad to help you keep on
track. Label the start of each new section in the score (Theme 1 Area,
Development, etc.) in pencil (you may change your mind later!)

3. Theme Identification / Internalization

Once the large, formal sections are identified and labeled, it is time to begin
the process of clarifying all thematic materials:
a. Identify all major themes (melodies)

b. Play each theme on the piano (or your instrument), and sing each of
them until you can play or sing it without looking at the score.
c. Once the themes have been transformed into sound in your head,
write each theme (in concert pitch) on a blank piece of manuscript
paper without looking at the score. Consult the score afterward to
correct any errors.

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d. Identify and label each theme on the score.

4. Detailed Form Chart

After you feel comfortable with the thematic material and the overall form, it
is time to begin examining the score with more acuity. To accomplish this,
you will create a chart of the piece on your legal pad. I will distribute a copy
of one of my charts as an example during class but, basically, the chart
includes:
a. One inch per measure of the piece with each measure numbered,
and any/all rehearsal indicators given by the composer.

b. The labeling of each phrase (large and small) with an arch.

c. The labeling of each thematic entrance and the instruments which

play them. Example: Theme 1: P, F, Eb, C1
I use the following instrument abbreviations:
Piccolo = P
Flute = F
Oboe = O
English Horn = EH
Bassoon = BSN
Contra Bassoon = CBN
Eb Clarinet = Eb
Bb Clarinet = C
Alto Clarinet = AC
Bass Clarinet = BC
Contra Bass Clarinet = CBC
Alto Saxophone = AS
Tenor Saxophone = TS
Baritone Saxophone = BS
French Horn = H
Cornet = COR
Trumpet = T
Trombone = B
Euphonium = E
Tuba = TU
Timpani = TIMP (or TP)
Other Percussion:
Snare Drum = SD
Bass Drum = BD
Cymbals = CYM
Vibraphone = VIB
Marimba = MAR
Xylophone = XYLO
Chimes = CH

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Glockenspiel (bells) = BELLS

Tenor Drum = TD
Tambourine = TAMB
Gong (tam-tam) = GONG
Woodblock = WB
Temple Blocks = TB
Strings:
Violin 1 = I
Violin 2 = II
Viola = VLA
Cello = VC
Bass = DB

d. The labeling of all accompaniments, counter-melodies, and the

instruments playing them in each measure where they occur.

IMAGINATION
How should this sound?
After obtaining more insight about how the piece is constructed, and what happens
when, it is time to start building an aural vision of the piece as we believe the
composer intended it to sound. Access to a piano will help this, and the use of a
metronome is vital!

Imagination Activities:
1. Phrase-by-Phrase
a. Set your metronome at the prescribed tempo. If the piece has a vague
tempo marking (Allegro Moderato, etc.), make an educated guess as to the
correct tempo. The true tempo will begin to reveal itself as this process
continues. If, at first, you are unable to hear things at the prescribed tempo,
slow it down until you can. Approach this process much in the same manner
in which you would practice each phrase on your instrument.

b. Using the score and the chart you created, sit in silence and try to
internally hear each phrase. Try to hear it by looking at the score (do not
conduct while doing this!), and then try to hear it by looking only at your
chart. As you do this, imagine specific phrase shapes, note shapes, balances,
and tone colors.

c. As you imagine specifically how you believe the composer would have
wanted a particular phrase or section to sound, write those specifics in your
score. Try to make a decision regarding every sound in the score. The more
specific you are in this phase of your preparation, the more defined and
transparent the sound of your group will be.

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2. Adjectives and Descriptors

As you continue imagining the sounds, begin imagining adjectives and
descriptive phrases you would use to describe the imagined sounds. Write
these adjectives in your score and on your chart. You will want to have at
least one adjective for every phrase or section. These adjectives will help you
better internalize the sounds and, in addition, will help you teach the piece to
your group.
Make the selected descriptors personal. Generic words like loud, soft, and
smooth are not as effective as words like, bold, gentle, and like glass.
The more personal the adjectives are, the more effective they will be.

INTERNALIZATION
How should this feel?
After spending as much time as needed discovering what is in the score, and after
spending time in silence imagining how we believe the composer would want it to
sound, we can now begin to better transfer the informed and imagined sounds into
our bodies.

Internalization Activities:
1. Silent Study of Each Phrase
a. Set the metronome at the prescribed tempo.

b. In silence and without conducting, try to hear each phrase

incorporating all you have discovered and imagined. Close your eyes and try
to see as well as hear the score. Repeat this with each phrase as needed
until you are comfortable.

c. Begin stringing together several phrases at once. When you come upon a
blank spot in your hearing, extract that particular moment and practice it
slowly until you can hear and see it.

d. Avoid defensive study. More specifically, do not hear your group

playing the piece. This will only lead to doubt and anxiety (How in the world
will I ever get them to play that?!). When internalizing a score, hear only
the worlds best players playing the piece. This will help you to create an
ideal sound in your mind.

e. Go through the entire piece in the manner described above.

2. Silent Run-Throughs
After having gone through the entire piece in the manner above:
a. Set the metronome at the prescribed tempo.

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b. Try to make it through the entire piece while hearing and seeing it in a
clear and specific manner. Remember to spend extra time with any
modulations, transitions, or bridge materials. Having all of the printed
transitions internalized is vital.

c. Repeat the above until comfortable.

Additional Comments Regarding This Study Process

1. This process, while certainly very effective, is time consuming. Dont wait to start
studying. You can never be too prepared for a rehearsal.

2. Create a Study Log. In it, keep track of where you are in the process of studying
each piece you are preparing on a daily basis.

3. As tempting as it may be, do not listen to a recording of the piece until you have
completed ALL of the steps above. Studying a piece in silence is the only way to
improve your inner ear, and young conductors can not help but be directly or
indirectly influenced by listening to a recording before completing the entire
process above.

4. However, once you have completed the steps above, find as many different
recordings of the piece as you can, and listen to them intently while looking at the
score. If a particular conductor does something that you find interesting and
effective on a recording, use it.

5. In the beginning, it is very difficult to hear everything in the score. Dont give up!
No one hears everything at first.

6. Your first rehearsal of the piece with your group is your first performance of the
piece. Be prepared.

7. If you have properly prepared in the manner above, creating daily lesson plans,
musical goals, and technical goals for your group will be much easier. This happens
because you now have an ideal performance of the piece burned into your mind
and body, and all that is needed is to compare the actual, real life sound of your
group to the ideal.

8. Will the players in your group ever be able to recreate the ideal sound you have
imagined and internalized? No, not likely. But your group will never even be able to

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come close to that imagined sound if it is not firmly embedded inside you. Our goal
as a conductor and teacher is to guide the real, actual sound of your group within
sight of the ideal. Get familiar and comfortable with the frustration and solitude; It
is a part of the life we have chosen.

In the end,
it all basically comes down to this:

WHAT ARE YOU WILLING TO DO?

Are you willing to not be liked?

Are you willing to look silly?

Are you willing to show what you feel?

Are you willing to admit failure?

Are you willing to make time to study

and prepare?

Are you willing to be a life-long

student?

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Are you willing to look at your

weaknesses honestly and your
strengths humbly?

Thomas McCauley is currently the Director of University Bands in the John J. Cali
School of Music at Montclair State University in New Jersey where he conducts the
Montclair State University Wind Symphony and Symphonic Band, and teaches both
graduate and undergraduate conducting. He has held similar positions in the states of
Indiana, Ohio, and Illinois in addition to teaching high school instrumental music in
Nevada for nine years. Composers including Karel Husa, David Gillingham, Joseph
Turrin, Bruce Yurko, Robert Aldridge, Morten Lauridsen and ONeal Douglas have
praised his work. In December of 2010, Dr. McCauley appeared as a clinician in Chicago
at the 64th annual Midwest Clinic. Each November, he hosts and teaches a symposium at
Montclair State University called the Weekend Wind Conducting Symposium with special
guest clinicians and participants from around the world.

Dr. McCauley is in demand as a guest conductor, clinician, and adjudicator throughout

North America. Ensembles under McCauleys direction have appeared at national and
regional conventions and conferences, and he has collaborated with artists including The
Imani Winds, The Manhattan Brass Quintet, Warren Vache, Demondrae Thurman, and
Phil Smith.

Dr. McCauley has been published in The Instrumentalist magazine, several state music
magazines, and in the second edition of Teaching Music Through Performance in Band,
Vol I published by G.I.A. publications. In 1995, the Nevada Music Educators
Association named Dr. McCauley Music Educator of the Year and in 2006, the Indiana
Music Educators Association honored Dr. McCauley with an Outstanding University
Music Educator Award. Dr, McCauleys book titled, Adventures in Band Building (or
How to Turn a Less-Than-It-Could-Be into a More-Than-It-Should-Be) is published by
G.I.A. Publications. He currently serves on the Executive Board of the New Jersey Band
Association, the New Jersey State Representative of the College Band Directors National
Association, and is the former New Jersey State Representative of the National Band
Association. He is also an active member of the World Association for Symphonic Bands
and Ensembles, and the National Association for Music Education

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