While the focus for ensemble directors is often a long-term goal, regular focus on the fundamentals of playing bring higher levels of performance.
The struggle is real. As ensemble directors, we get focused on what pieces to perform for our next concert and want to put together a great program. We try to mix some challenging pieces in with something fun. We hope to entertain the audience. And, we pray our students are up to the task.
While going through this process, there are moments that give us pause. Can the clarinet section get this section of 16th notes that cross the break? Will the ensemble learn this 5/8 section? There are always questions crossing our minds as we select literature.
But, the answer to these questions is always the same. Spend time on fundamentals.
Monday Morning QB
Fact: I love sports. Something sports related is often on my television or tablet. Three pre-sets on my car radio are sports-talk stations. I even write articles for two sports pages.
One of my favorite shows in all of sports information is ESPN Radio’s Mike and Mike. The comedic banter combined with the insights on the games I love make this show enjoyable to me. And, now that it is football season, guests from around the game are brought in to provide additional analysis. This includes former Indianapolis Colt (my favorite football team), Jeff Saturday.
This morning, while discussing offensive line play, Saturday said that we have moved to discussing scheme instead of coaching fundamentals and techniques.
The scheme and plays are important, but execution falters when fundamentals suffer.
I wanted to stand and applaud.
The same is true to music performance. Performing at the highest levels means having a solid fundamental and technical foundation. However, most ensemble directors breeze through the exercises that build these areas.
Best time spent
I recall a story told to me from a former jazz ensemble director about famous trumpeter Doc Severinson. The story goes like this: After a concert, one that featured Severinson for at least two hours, the artist returned to his room backstage. When there, he proceeded to play longtones. This lasted for about an hour. When someone finally entered Severinson’s room to ask about what he was doing, the reply was simple. “Somewhere out there, someone else wants my job.”
While I cannot prove the story to be true, the point is clear. The best work on fundamentals.
Long tones are paramount to success. The most important part of music production is the sound we create. Performing long-tone exercises builds consistency is generating the vibrations needed to produce a clear, full tone. It doesn’t matter if it band, orchestra, or choir. Sound matters. This must be done daily.
Technical work should be done daily as well. I don’t mean simply scales in a given pattern. I mean technical etudes. There are books out there for full ensemble technical work. My personal favorite is Foundations for Superior Performance, but you may find another resource that works.
Teach rhythm! Yes, I said it! Teach rhythm to you students. They can’t play in 5/8 if you never work with them on it. And, it must be done consistently as well.
Related Read: Let the Beginner you join the fun
Honestly, I know time is precious to ensemble directors; however, spending 20 minutes in fundamentals daily will lead to better performances abilities. That means more challenging music. Which, to most, leads to more fun playing.
And that is what this is supposed to be. Fun.