If you do it as part of your class routine, you’ll know it is getting done properly. And remember, students become easily distracted outside the band class, so it is better to organize their daily drill/warm-up than leaving it in their own hands. When you need the basics, prioritize the daily drill that works best. A more extended fundamentals period provides more options. With additional time, you might explore advanced exercises, including dynamic control exercises, pitch bends for brass, range builders, or other rhythm and ear training exercises. If students can learn to think about how they feel or how they want something in the room to sound, it increases the chances that they will do this more when they start to perform music. Ultimately, we use breathing and singing to develop those skills in a vacuum and raise a student’s awareness about how they feel when they take a proper breath and how something sounds when it is in tune. Additionally, singing can be as basic as a single note or five notes of a scale. You might consider a breathing sequence that students perform every day - like in four out four, in four out eight, in two out eight, in one out eight at different tempos - rather than just creating something different each day. This could be multiple tonguing, fast tonguing or even learning to control accents, tenutos, staccatos or other styles students will need to succeed. And finally, the daily drill must include something to work tonguing and style. Sometimes we will have our woodwinds play a fast finger/technical exercise while the brass plays slurs for efficiency. It also must include a lip slur exercise for brass (either a soft, slow slur or something quick) and a harmonic slur for woodwinds. If we only have time for a very short warm-up, it must include a sustained long-tone exercise: a Remington/interval study or major/minor scales.
Investing in fundamental skills early on during contest preparation will make working on the music more accessible. In general, students practice more efficiently when a teacher structures it, so class rehearsal time becomes critical. If students do not have enough time to practice the music during class, they certainly will not be successful during the performance. music and how that time should shift over the course of content preparation.Īt the end of the day, “right notes and rhythms” go a long way toward a magical musical performance.
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The table below shows how to split time during a 40-, 60-, and 80-minute class period on fundamentals vs.
In January, spend 60% of rehearsal time on fundamentals, 40% on music.If a contest is in March or April, you will likely begin preparing in January. The time focused on fundamentals allows students to develop skills that will make learning the music easier and address weaknesses in our ensemble.įundamentals include all elements of the daily diet for the contest literature, including rhythm training, ear training, breathing exercises, buzzing for brass, long tones, lip flexibilities, harmonic slurs, articulation exercises, range builders, dynamic control exercises, scales, chorales, tuning sequences and more. In the earlier parts of contest preparation, we invest more time on fundamentals and less on practicing contest literature. Like a balanced nutritional diet, we work on fundamental exercises each day that strengthen the skills our students need to achieve a high level of performance. While it’s not a perfect formula, at Claudia Taylor Johnson High School, we stick to our daily drill in the same way that we brush our teeth or get dressed for school each day - we make it a part of our routine.
A musician’s daily diet or daily drill provides all the necessary basics for performing on an instrument successfully.
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