The Instrumentalist

Articles October 2009

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Conducting Clinic:
5 Perspectives on Warm-Ups
Lassiter High School director Alfred Watkins states, “In rehearsals I assume that if we don’t cover a particular fundamental during our warm-ups, students will not cover it at all that day.”
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Teaching:
Delightful Beginners, Teaching Fifth- and Sixth-Grade Brass and Percussion
“Withhold no information that will help the ensemble sound good today. It does not take years to develop a high-quality sound in an ensemble.”

Special Web Extra: Things to Say to Your Students
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Teaching:
Teaching Composition
As part of each assignment students must explain why their work captures the audience’s attention. “I use the words ‘capture the audience’s attention’ hoping students will compose and then revise the music to be sure a melody is present.”
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Teaching:
Good Advice for Future Music Majors
Here are some tips to share with your seniors as they look toward college next fall.
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Percussion Clinic:
Techniques for Vibraphone
“Because the distance from the center of the natural bars to the center of the accidental bars is greater on the vibraphone than on the marimba (the bars do not overlap), fast passages can be difficult to play. Because of this, many vibraphone players use double-sticking patterns (RR, LL) on scales.”
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Conducting Clinic:
Eight Rules for Conductors
Abiding by these eight principles will help keep ensemble members focused, productive, and happy.
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Woodwind Clinic:
Developing Double Reed Tone
"It is better for beginning double reed players to be flat than sharp. If they are flat it means they have the correct embouchure for the reed but aren’t supporting enough. It is more difficult to teach a student to relax the embouchure if he plays sharp.”
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Life of Reely:
The Raven
This retelling of Poe’s classic poem is sure to strike terror into the hearts of directors everywhere.
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Notes from Northfield:
Internet Bandwagons

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