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Concise Definitions Of Basic Concepts

Matthew Temple | August 2014


    As ensemble directors, we work tirelessly to unify the qualities of every sound that our players produce, monitoring and addressing the timing, pitch, shape, and volume of each musical moment. In our efforts to develop a cohesive ensemble sound, however, I suspect that many directors mistakenly assume their players have the same understanding of basic concepts. In my experience, I can recall not fully understanding the difference between balance and blend. From my elementary band beginnings through my undergraduate training in college, I had always heard them referred to together as balance and blend. I wrongfully thought these basically meant relative volume. Even today, many adjudication forms still have balance and blend listed as a single category for evaluation. It wasn’t until graduate school when I was observing a rehearsal in which the conductor very clearly addressed these elements separately that the difference finally struck me.
    Through trial and error over many years of teaching, I have created extremely concise, user-friendly definitions of the basic ensemble concepts and articulations. By developing a common vocabulary, players become empowered to make more informed decisions about their own music-making. They learn to distinguish the various components of any musical moment and identify exactly what needs to improve, which ultimately speeds up the rehearsal process. It also strengthens their ability to lead sectionals. Just as we have spent considerable time refining our rehearsal skills as directors, using a common vocabulary assists student musicians to improve their daily contributions.
    Below are all of the definitions that I now use regularly in our high school program. The ensemble concepts are listed in the order in which they are introduced and defined at the beginning of the year. I always define tone first, and I typically write it in all capital letters to emphasize its paramount importance. Many of the definitions include reminders, which are catch phrases that we use frequently in rehearsals. Every student receives a copy of this sheet during freshman year and is tested on it at the end of the year. We revisit the definitions in full during sophomore year and continue to use them consistently in daily rehearsals throughout students’ time in the program.

Ensemble Concepts
    Tone: The characteristic sound or color of a given instrument. Correct posture, embouchure, and breathing are required to produce a consistent tone. Scientifically, tone is the relative presence or absence of the overtone series. Reminders: “Get inside the sound of your neighbor.” “Support your sound.”
    Intonation: The ability to play in tune with yourself and with the pitch center of the ensemble. Use the recommended tuning note for your instrument first. This is Bb for clarinets and brasses except horns, A for all other woodwinds, and F for horns. You must learn the characteristic pitch tendencies of your instrument. Tuning in ensemble requires you to eliminate all beats in the sound. Reminder: “To play in tune, you must play in tone.”
    Blend: The ability to match all elements of your sound with other players (including tone, pitch, volume, articulation, and style). Use this three-point check list:
    •  Am I playing the same volume?
    •  Am I playing with the same tone color?
    •  Am I matching the same pitch center?
Reminders: “Lose your identity.” “No heroes.” “Match your neighbor on either side.”
    Balance: The relative presence of a given musical part. The band pyramid requires the lowest voices to be the loudest, the middle voices to be relatively softer, and the upper voices to be the softest. The same pyramid applies to each section, with the lowest part being the loudest and each higher part being progressively softer. For example, when tuning octaves, the lower octave should be louder.
    Vertical Alignment: The ability to align all rhythms from the top to the bottom of the ensemble. Because sound is directional, ensemble members must carefully watch the conductor and listen to ensure tight alignment. The ultimate test of vertical alignment is the audible result; all sounds should arrive together in time.
    Levels of Listening: There are three levels of listening that must occur in ensemble playing: self, then section, then ensemble. An individual player must monitor all three levels constantly and simultaneously to be a true ensemble player. This is the final synthesis of all the above concepts. Reminders: “Listen louder, play softer.” “Listen to your neighbor on both sides.” “Listen back for pulse.”

Articulation
    Every sound has three parts: attack, sustain, and release. Articulation determines the overall shape of the sound produced and typically has the greatest effect on the attack and release of the sound. The sustained part of each sound should be steady and consistent.
    Slur: All notes are connected with no articulation except for the first note, which is typically played tenuto. Reminder: “Spin the notes forward.”
    Legato (leg.): A smooth and connected style with a light articulation at the beginning of each note (du); 100% length to every pitch in a phrase. Reminder: “Blow across (or in between) the notes.”
    Tenuto: Sustained full note value, typically performed with a slight stress at the beginning of the note and short taper before the next note. Reminders: “Press on the note” or “Linger.”
    Staccato: Light and separated; approximately 50% of the original rhythmic value (50% sound, 50% silence). Reminders: “Hear the space between the notes.” “Round staccato.”
    Accent: Lifted and separated with implied space (taper); each note has the shape of a mini decrescendo.
    Marcato: Lifted and separated with audible space (silence); each note is marked and well-pronounced.



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Articulation Shapes
    Basic articulation shapes help players visualize the defining qualities of each articulation. Directors should develop a basic set of shapes to use with students. All efforts toward developing written and visual definitions of articulations are intended to help players unify the audible result. Just as dynamic levels are relative and do not indicate exact volumes, so are the shapes of articulations. They vary according to the style of the piece and the composer’s intentions. Directors should feel free to experiment with articulation shapes according to what they want to hear from the ensemble.

    Slurred: continuous, uninterrupted air flow between notes.

    Legato: continuous, steady air flow that is briefly defined by a du articulation.

    Tenuto: sustained full note value with a slight taper before the next note.


    Staccato: approximately half of the original note value; 50% sound, 50% silence.

    Accent: lifted attack with almost immediate decay; each taper should touch the next note.

    Marcato: lifted attack with a short taper that creates silence before the next note.