DOCUMENT RESUME

SD 071 974 SO 005 274

AUTHOR Peel, Jerry
TITLE Instrumental Techniques: Brass, Music: 5642.3-1.
INSTITUTION Dade County Public Schools, Miami, Fla.
PUB DATE 71
NOTE 26p.; Authorized Course of Instruction for the
Quinmester Program
EDRS PRICE MF-$0.65 HC-$3.29
DESCRIPTORS *Bands (Music); Course Content; Course Objectives;
Curriculum Guides; Laboratory Training; *Music; Music
Activities; *rhisical Instruments; *Music Education;
Music Reading; *Music Techniques; Resource Guides;
Secondary Grades; Skill Development
IDENTIFIERS Florida; *Quinmester Program

ABSTRACT
The quinmester course is designed for students who
have completed a music level 2 course or demonstrated advanced
musicianship and/or performance skill. Course objectives, focusing on
musicianship and performance, employ a lab approach in which pupils
develop skill in playing brass instruments, sing, listen to, read and
compose music with emphasis on identification of elementary concepts
of modes and forms. The guide includes outlined information on course
content, course procedures, strategies, suggested learning
activities, and resources for pupils and teachers..Relaild documents
are SO 005 272, ED 061 246, and ED 061 248. (Author /SJM)
 FILMED FROM BEST AVAILABLE COPY

AUTHORIZED COURSE OF INSTRUCTION FOR THE

i

INSTRUMENTAL TECHNIQUFS: BRASS

COURSE NUMBER MUSIC: 5642.3-1

DIVISION OF INSTRUCTION1971
 U S L.70ARTMENT OF HEALTH
EDUCATION & WELFARE
OFFICE OF EDUCATION
HIS DOCUMENT HAS BEEN REPRO
DUCED EXACTLY AS RECEIVED FROM
THE 'ERSON OR ORGANIZATION 014,3
INATING IT POINTS OF 'VIEW OR OPIN
IONS STATED DC NOT NECESSARI. V
REPRESENT OFFICIAL OFFICE OF EDJ
CATION POSITION CR POLICY

TNSTRUMENTAL TECHNIZFS : BRASS

COURSE Win9FR: FUSIC: 5642.3-1

Written by Jerry Peel

for the

DIVISION OF ENSFRUCTION
Dade County Public Schools
Miami, Florida
1971
 DADE COUNTY SCHOOL BOARD

Mr. William Lehman, Chairman

Mr. G. Holmes Braddock, 'Vice - Chairman
Mrs. Ethel Beckham
Mrs. Crutcher Harrison
Mrs. Anna Brenner Meyers
Dr. Ben Sheppard
Mr. William H. Turner

Dr. E. L. Whigham, Superintendent of Sc Lools

Dade County Public Schools
Miami, Florida 33132

Published by the Dade County School Board

Copies of this publication may be obtained through

Textbook Services
2210 S. W. Third Street
Miami, Florida 33135
 . TITI,,..

InPlrumoptal chnLques:

II. COURSE NUMBER

5642.3-1

III. COURSE DESCRIPTION

An introduction to music emphasizing modes and forms. A

lahoratory approach in which pupils will develop skill in

playing brass instruments, sing, listen to, read and compose

music with emphasis on identification of elementary concepts of

modes and forms.

COURSE ENROLLMENT GUIDELINES

Pupils will have successfully completed a MUsic Lab Level 2

course cr demonstrate advanced musicianship and/or r3rformance

skill to the satisfaction of the music teacher.

1
V. COURSE OF STUDY OBJECTIVES

A. 'Musicianship

The pupil will select the title of a familiar melody heard

from a list provided.

The pupil will identify the performing medium by ear from

the following choices: violin, clarinet, piano, trumpet,

flute, cello, trombone, recorder, oboe, saxophone, French

horn, English horn, and bassoon.

The pupil will determine by ear whether an example is

major, minor or chromatic mode.

The pupil will determine by ear whether an example contain:

a complete cadence, an incomplete cadence, or' no cadence.

Given a staff containing a clef sign, meter signature, bar

lines and the initial note, the pupil will complete the

notation for pitch and duration from melodic dictation.

Given a staff-notated example, the pupil will indicate 9.nv

pitch discrepancies in an example heard.

Given a staff-notated example, the pupil will indicate an:'

rhythmic discrepancies in an example heard.

liven several samples of staff notation, the pupil will

select the one matching an example heard.

2
 Given a fl4iliar melody in staff not?t ird, without a kr-y

-;ir;nature and aided by hearing a pr.rfPrmance of the melody

exactly as notated, the student will select the needed key

siganture from a group provided.

After hearing a melody, the student will select from a group

provided the proper sequence of letters to describe the form

of the melody.

Given a familiar melody in staff notation, the student will

select the title from a list provided.

B. Performance

The pupil will demonstrate proper carp and maintrdiance

the brass instrument of his choice.

The pupil will demonstrate, through class particiaption, a

proper attitude including correct posture, proper plaving

position, practice habits, etc.

The pupil will play from memory two major scales and their

relative minors, for one octave, with characteristic timbre,

at a speed of at least one tone per second, in an articula-

tion (legato, tongued, staccato) selected by the teacher.

The pupil will play fran memory a chromatic scale for a

ran of an octave, with characteristic timbre, at a speed

of at least one tone per second.

1.
 The pupil will perform from music simple melodies employing

whole, half, quarter, and eighth note values, in time signa-

tures of 4/4, 3/4, 2/4, 4/8, 6/8, and in any of at least

three different key signatures.

VI. COURSE CONTENT

A. Development of performance skills

(Th.se will receive heavy concentration at first to build

embouchure strength, range and control sufficient to do

other sections, then continue to develop concurrently with

musical concept development.)

1. Logistic

Choosing proper instrument for student

Assembly of instrument

Care of instrument--daily, monthly

2. Tone

Embouchure

Breath control

3. ?itch

Fingerings

Tuning of instrument

Techniques of pitch adjustment

Further embouchure and breath control development

4. Articulation

Tonguing
 Slurring

Staccato

Legato

Special trombone articulations

5. Review of staff notations reading skills

B. Find missing key signatures

The pupil will develop awareness of the fUnctions of the

key signature and skills in notating and playing desired

effects.

C. Chromatic scale

The pupil will develop skill in performing, notating; and

hearing chromatic passages and scales.

D. Major scale

TYe pupil will develop skill in notating, hearing, and

performing major scale patterns.

E, Forms

The pupil will identify two-part, three-part and theme-and-

variations forms in appropriate melodies.

5
VII. COURSE PRCCEDURES, SERKIEGIEC, AND SUGGF= LEARNING ACTTIT7T7

A. Developing performance skills

1. Logistic

a. Cnoosing proper instrument for student. Check

thickness of lips and structure of teeth.

Students with small thin lips would have more

success on the trumpet or French horn. Students

with thick lips might find more success with the

larger mouthpiece of the trombone or tuba. The

trumpet mouthpiece produces equal pressure on the

upper and lower teeth. The higher position of the

horn mouthpiece produces similar pressure, but it

is not equal. The instruments having larger mouth-

pieces do not create as much of a problem since

they cover a higher and lower portion of the mout').

Students having serious overbites or underbites

should have special care and consideration as

these can result in serious range and tonal problems

as the student progresses.

Suggested material:

"The Band Director's Short Course in Ortho-

dontia," Maurice M. Porter. Selmer Band-

wagon, May 1966.

"Beginning Brass Class," John Kinyon, Brass

Anthology, p. 242.

6
 "Tips on Teaching Younr: Rernar-!

Fitzgerald. Brass Anthology, p. 105.

b. Assembly and care of instrument

Materials:

Filmstrips on band instrument care producc,i

by FBF Films emphasize the intricacies,

of band instrument care for each section.

2. Tone

a. Embouchure -- materials:

The Brass Instruments, James H. Winter, Chapter 3.

The Art of Brass Playing, Philip Farkas. ,:omplete

book on formation and use of brass embouchur'.

Brass Anthology. Twelve articles by varies .:-

authors on brass embouchures.

b. Breath control

This sould he stressel constantly to beginnino-

wind pla,;P-s. The process of breathing from

the diaphram is a natural one, but for the brass

player it must be a learned process. The

student must realize that normal exhalation is

not sufficient for producing a steady, controlled

tone.

Proper projection of the air column will finally

result in a comfortably energetic "push" of air.

7
 Encourage the daily oractic of long tones at

home as a valuable aid to developing a charac-

teristic tone.

j=40

?PP fry

Materials:

The Brass Instruments, James Win'er, (7,--apter 2.

The Art of Brass Pla.vinp, Philip FarkaF,

Chapter 8.

grass Anthology. Five articles by vc,rinuh

authors concerning breath control.

3. Pitch

a. Fingerings

Fingering charts are always found at thf- h-Hn-

ning of method books. The conductor's 1-nn,4%]

to Easy Sleds to the Band, laurice D. Tavlor

and Our Band Class Book, Rook I, C. Paul F,,,rfurt:-

and Hugh Stuart has all ngering charts in the

front.

b. Tuning of instrument

Many articles are available in the Brass Ant',oloq

concerning tuning techniques and problems of the

individual brasses. In discussing intonation

 with students it must be stressed that playing

in tune must be achieved first and last by

listening, i.e., ear training. All technical

points are merely aids. In tuning the brass

ensemble or class it is important to tune using

scale patterns, chords, and easy chorales as

well as tuning single pitches.

Materials:

Belwin Band Builder, 'art I, p. 9, #46;

p. 10, #55; p. 11, #63, p. 12, Y71; o.

13, #79; p. 17, #113, etc.

First Division Band Methoa, Part I, '. 11,

#6; p. 14, #1, #2 and #7; o. 17, 117;

p. 22, #3.

Our Band Class Book I, p. 20, #4; p. 23, EQ u";

p. 24, #4; p. 2=3, d9 vt #21; p. 25, #2.

Easy Steps to the Band, p. 11, #8; p. 13, #6;

p. 17, #11; p. 21, #12.

c. Techniques of pitch adjustment

It is of paramount importance to develop the

concept of a centered or focused tone. If the

pitch is still bad, several adjustments can be

made. On loud tones yawn or drop the Jaw and

form the "oh" vowel. On soft tones Veep the

 intensity and life in the tone by forcing air

through the instrument in a "ast, pointed stream.

Low notes tend to be sharp. Anticipate this by

dropping jaw and form "oh" vowel. On the valve

instruments the 1-2, 1-3, and ;.-2-3 valve .-_.opin:na-

tions tend to be sharp. Adjust by dropping jaw and

form "oh" vowel. Some instruments have 1st and 3rd

valve attachments to adjust those cr-binations.

The 2-3 valve combination tends to be flat. Th4s

is solved by "lipping up" the note. Always blow

steadily.

Materials:

"Intonation and Brass Instruments," Doug" Peterson.

Brass Anthology.

"Valve-Brass Intonation Difficulties Conquered,"

Mark Hindsley. Brass Anthology.

4. Articulation

a. Tonguing

The function of tonguing is to dam the air for an

instant, and then release it in a gust of air suffi-

cient to cause the lips to vibrate and the tone to

speak at that instant. The tongue should touch at

the point where the upper teeth meet the gums.

Discourage students from inserting the tongue

10
 between the teeth as this disrupts the embouchure

and causes difficulty when rapid tonguing is

attempted.

Materials:

The Art of Brass Playing, Philip Farkas,

Chapter 6.

"Discriminating Use of the Tongue," Harold

Brasch. Brass Anthology, p. 214.

"The Use of the Tongue," Howard Deye. Brass

Anthology, p. 15.

b. Slurring

Emphasize a constant steady air column supporting

a continuous bu , ,crust not sag or weaken

between the slurred notes. Subtle use of vowel

formations in the oral cavity can aid the develop-

ment of smooth slurs. Use the "oh-ee" vowel for

upward slurs and the "ee-oh" vowel for downward

slurs. In practicing lip slurs, guard against

"huffing" notes into place. The air should remain

constant and the lips do the work.

Materials:

The Art of Brass Playing, Philip Farkas, Chapter 6.

Belwin Band Builder, Part I, p. 15, #91-#93;

p. 16, #98-#102, p. 21, #142.

11
 First Division Band Method, Part I, p. 12, #1-3;

p. 13, #3; p. 14, #3; p. 17; #1-2, p. 18, #1,

#2, #6, #7; p. 20, #2-4, #6; p. 23, #1-5.

c. Staccato

The most important consideration in learning good

staccato articulation is the release of the note and

not the attack. The fact that the release follows the

attack so closely often causes the young player to stop

the vibrations with the tongue, resulting in a "tut-tut"

articulation. The most successful syllable is the "tuh"

articulation which achieves a very short note but

keeps the tongue from returning to its preparatory

position where it would hinder the air flow.

Materials:

The Art of Brass PlayinG, Philip Farkas, Chapter 6.

d. Legato

A softer than normal attack is used to articulate smooth,

legato passages. The tongue tip continues to operate in

the same direction except that the syllable "doo" is used

instead of "too." The legato tongue is a most important

factor in playing effective melodic lines and should

be developed very carefully and conscientiously.

Materials:

The Art of Brass Playing, Philip Farkas, Chapter 5.

12
 e. Trombone articulations

Tonguing for the trombone is similar to the other

brass instruments with one exception; the trombone

can slur only by lip slurring. Of prime importance

is for the student to learn a much more refined

version of the legato articulation in order to

simulate the slurring technique of the other brasses.

Much more tin will have to be spent developing an

absolutely smooth legato tonguing style on the

trombone. This can be achieved by practicing

repeated note patterns and scale patterns.

Materials:

"The Legato Style of the Trombone," James Graham.

Brass Anthology, p. 390.

NOTE: Most exercises or etudes out of the

beginning method books can be altered

in ways to include all types of articula-

tions. When students learn the different

types of articulations, this becomes a

vital part of practicing each exercise.

5. Review of staff notation reading skills

A certain degree of proficiency in the basic skills should

be expected of all students reaching this level. However,

time must be spent in reviewing all the elements of the

13
 staff, including line and space names, time signatures,

key signatures, signs and symbols, basic words, etc.

Materials:

Adventures in Music, Clay Draughon Howell.

Master Theory Workbook, Charles S. Peters & Paul Yoder.

B. Find missing key signatures

Provide students with copies of simple, familiar melodies

in keys of C, G, F, Bb, and Eb without key signatures. Play

a melody while students watch music, On replaying, students

single out the note or notes which sound wrong, make cor-

rections with a sharp or flat and play the melody correctly.

Students will soon see that the key of F needs a flatted B,

the key of C needs no flats or sharps, the key of G needs a

sharped F, etc.

Materials:

A New Introduction to Music, Level III, Dr. Howard

Doolin, p. 1-6.

Belwin Band Builder, Part I, p. 2, #47; p. 11, #60, #61,

#62, #64; etc.

First Division Band Method, Part I, p. 8, #5; p. 11, #5;

p. 12, #5; p. 13, #8; p. 14, #6; p. 16, #4, etc.

C. Chromatic scale

Using a piano keyboard, explain to students that western

music is built with half-steps as the closest notes. (You

114
 may play an example of Eastern music with its quarter tones

to demonstrate differences in sound.) Explain how a note

can be sharped and flatted and how notes can be written

enharmonically. Have students look at a chromatic scale

and notice the easiest way to write it (sharps ascending and

flats descending). Students will play a chromatic scale and

build others starting on different notes. Be sure students

understand the concept of half-steps since this is a

principle aim in teaching the chromatic scale.

Materials:

A New Introduction to Music, Level III, Dr. Howard

Doolin, p. 7.

First Division Band Method, Part I, p. 19, #8; n. 21, #6.-

Recording: West Meets East with Yehudi Menuhin and Ravi

Shankar. Angel #36418.

D. Major scale

After the students understand half-steps in their study of

the chromatic scale, teach the difference between half-stens

and whole-steps (any two half-steps make one whole-sten,

skipping a half-step gives a whole-step, etc.) Introduce

the C major scale noting whole-steps and half-steps. Sub-

stitute the numbers one through 8 for the letters of the

scale and explain the pattern for all major scales. Students

will hear the major scale pattern of whole-steps and half-

steps. Then introduce scales starting on D, F, and 0

without the proper key signatures and students will indicate

15
 which note or notes sound wrong in Pach cane. 9elp

them correct the note until it sounds right to them. Then

compare the pattern of whole-steps and half-steps to that

of the C scale. The patterns always matci. Using the major

scale pattern, students will construct a few simple scales.

Continue these exercises for several days until they have

thoroughly learned the major scale pattern of whole-steps

and half-steps and can alter notes to fit the pattern and

they can build scales from any given note. This concept

will also help them to remember and use key signatures with

greater proficiency.

Materials:

A New Introduction to Music level TTT, Dr. Howard

Doolin, p. 8.

Belwin Band Builder, Part I, p. 13, #74; p. 22, #145-

147; p. 24, #159.

First Division Band Method, Part I, p. 14, $1-2; p. 15,

#1; p. 24, #1.

E. Forms

1. Phrases

To identify form, students must be able to identify

phrases. This is most readily taught by ear training.

Provide students with copies of simple melodies, have

them listen to the melody while they watch the music

16
 and indicate by raising their hands when the music

comes to a natural resting place. (Choose songs with

easily recognizable phrases.)

Materials.:

A New Introduction to Music, Level III, Dr. Howard

Doolin, p. 14, 18, 23, 27, 28.

Most of the tunes in the method books can be used

for this purpose. Start with two-phrase songs.

2. Three-part song form

After students recognize phrases easily, provide si7p:',

three-part songs of four phrases and have them determine

how many phrases are alike. Give the phrases letter

names, naming the like phrase with the same letter, nut

the letter names on the board in the order in which

they appear in the song (AABA). Explain how to count

parts, second At
does not count because it is a repat

and the proper way to signify a three-part song form is

ABA.

Materials:

A New Introduction to Music, Level III, Dr. Howard

Doolin, p. 9, 10, 14, 18, 28.

Belwin Band Builder, Part I, p. 12, #72; P. 18, #123;

p. 19, #125, p. 21, #143.

First Division Band Method Part I, p. 13, #8; p. 16,

#4; p. 22, #4; p. 25, #1.

17
3. Two-part song form

This song form is best understood as two-periods.

Explain that a period is two phrases joined together so

that they sound like a musical idea or "musical thought."

Students will identify pruases which make periods in

several simple songs and then identify them as two-

part song forms.

Materials:

A New Introduction to Music, Level III, Dr. Howard

Doolin, p. 4, 20, 21, 22, 48.

Most tunes from the method books are two-phrase songs

and can be used as examples of AB form.

4. Theme and variations

Play a simple theme for the students and then vary it

by changing it from major mode to minor mode. Explain

that composers may change a melody in many different

ways and write a longer composition known as theme and

variations. Another way to change the song is to rear-

range the notes (a retrograde or inversion variation).

Give a simple melody. Students play it as a theme and

then suggest variations on the theme. Students will

write a variation of their own (individually and/or as

a class) using a simple song such as "Hot Cross Buns,"

"Down in the Valley." Assign a retrograde, inversion,

18
 mode change and melodic variation using sane chords.

Each will play his own "Theme and Variations." Listen

to recordings of theme and 'Tariation forms.

Materials:

A New Introduction to Music, Level III, Dr. Howard

Doolin, p. 40-45.

Recordings: "Audante" from Haydn's Surprise

Symphony. "Thing Movement" from Mozart's

Piano Sonata in D Major, K. 28L'.

During the first four weeks of this quinmester form should

be analyzed at every possible opportunity in the literature

studied, i.e., repeated rhythm patterns, melody line, etc.

Do not neglect popular rock songs of today and nursery

songs, for both lend themselves to analysis of form.

During the first two weeks an opportunity in simple, informl

composition should be presented. Suggestions for begjnninr

this might include:

1. Give student two notes (i.e., C and D)

2. Students will write all possible combinations of

these two notes that occur to them as to progression.

3. Students will write all possible rhythm patterns.

4. Combine these rhythmic and progression possibilities.

19
 5. Students will choose notes, professions and

rhythm patterns.

NYITE: This teaches some comnosition, form, meter,

counting and melody in a very informal way without

becoming involved in the intricacies of theory.

Too, it may serve as a stimulus to encourage students

to experiment with composition on their own.

VIII. REcnURC:' MR PUPILS

'10TE: Many have been indicated 'n

A. References

1. The Instrumentalist Co. Bran:; Anthology. The

Instrumentalift Co., 1969.

2. Farkas, Philip. The Art of '3-as3 Playing. BlocI-

incton, Indiana: Brass 'Uhlications, 1962.

5. Texts

Douglas, Wayne. Belwin Fund Buil !or, Part I. Now

York: Relwin, Inc., 1953.

Peters, Charles S. and Paul Yoder. Master Theory,

Books I and II. Park Ridge, Ill.: 'Tei1 os

Msic, Inc., 1°''=1.

Weber, Fred. First Division Rand Method, Part I.

New York: Belwin, Inc., 1962.

C.

Band Instrument Care. Educational Pecord Sales:

New York, 1970.

Brass Choir. Dade County Public Schools. Cataglog

#1-94323.

Instruments of the Band and Orchestra: The Prasses.

Dade County Public Schools. Catalog #104331.

D. Records

Bill Bell and His Tuba. Gold Crest CR-407.

 19Vi0 Shuman, Trombone. 4old 7011.

Jars Chambers PluIIILFrellf.11222. Cold Crest

AAfi r4.

iponard Falcone and 7!Is Barito-v. ,brn. Cold Crest

HE-7001

Leonard Smith Plays the Cornet. Coll (-est AA[ 701.

Plow York Brass tlintet in Concert. lold Crest

CR 402'.

f')r Success Serle:;. l'iffrent set for

trumpet, trombone and French ,2orn. Cold

Air 701.

,t E;int. Ar;(^0]

t,y '(.11Cort :;

)rch(-stvas

Student rf,rformaneer and recital:- at univem-,itle:;

F. Periedlcaln

"Bandwagon" E. & A. Se.lner, Tnc. Elkhart, Ind.

"The InstrumPntalist" The Instrumentalist Co.:

Evanston, Ti?.

22
Ix. TEACHEI,

A. :el'er,)ncs

Fart/as, Philip. The Art of Brass P1av1n7. Bloomin:rton,

Ind: Brass Publications, 1962.

Instrimentalist Co., The. Brass Anth-)lov,.y. The Instru-

mentalist Co., 1969.

Winter, James E. The Brass Instruments. Boston: All

and Bacon, Inc., 1964.

B. Texts

Doublers, Wayne. Reiwin Band Builder, Part T. T,,achr,r'i

'Manual. New York: Pelwin, Inc., 1953.

Herfurth, C. Paul and Pugh M. Stuart. Our Band Class 160./.,

Book I. Teacher's Manual. New Ynr!,:: Carl Fischer,

Inc., 1952.

Peters, Charles S. and Paul Yoder. Master Theory Books

and II. Park Ridge, Ill.: Neil Kios Music, Inc.,

Taylor, Maurice D. Easy Steps to the Band. Teacher's

Manual. New York: Mills Music, Inc., 1939.

Weber, Fred. First Division Band Method, Part I, Teacer':

Manual. New York: Belwin, Inc., 1962.

C. Films

Rand Instrument Care. Educational Record Sales. New

York, 1970.

23