EDWARD S. LISK Published by Meredith Music Publications a division ofG.W. Music, Inc. 4899 Lerch Creek Ct., Galesville, MD 20765 hnp://www.meredithmusic.com MEREDITH MUSIC PUBLICATIONS and its stylized double M logo are trademarks of MEREDITH MUSIC PUBLICATIONS, a division ofG.W. Music, Inc. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any informational storage or retrieval system without permission in writing from the publisher. Cover photo © 2006 Andrei T chernov Copyright© 2006 MEREDITH MUSIC PUBLICATIONS International Copyright Secured • All Rights Reserved First Edition January 2007 International Standard Book Number: 1-57463-079-2 Library of Congress Control Number: 2006937905 Printed and bound in U.S.A. ... 111 CONTENTS FOREWORD . ......... . • • v PREFACE . ........... . vii ....... PART 1. THE CONDUCTOR .. . .. 1 Becoming a Band Director . . . .3 Conducting and Listening Skills . .4 Ensemble Sonority . . . . . . . . . 5 Listening for Harmonic and Melodic Content .6 Expressive Conducting . .7 Shaping Expression . . . . . . . . . . . . 9 Free-Form Conducting . . . . . . . . . 11 Exercises in Free Form Conducting. 11 Selecting Literature . . . . . . . . . . . 13 . . . . . . . . PART 2. THE TEACHER. . . . . . . . . . . . . . . . . . . . 15 Alternative Rehearsal Techniques: A Paradigm Shift. 16 Rehearsals. . . . . . . . . . . . . . . . . 19 A Story about the Circle . . . . . . . . . 20 Introducing the Circle of 4ths Worksheet. 22 Group Assignments. . . . 23 Basic Chord Progressions . . . . . . . . . 24 Scale Knowledge . . . . . . . . . . . . . 29 Reasons for Using the Grand Master Scale . 31 The Grand Master Scale. . . • . . . . 33 Internal Pulse: Discipline of Duration 35 Exercising Internal Pulse . . . . . 36 Internal Pulse Exercise . . . . . . 37 Discovering the "Right Side" of a Note . 39 The Secret of Note Decay. . . . . . . . 40 Exercises in Silence at the Right Side of the Note. 41 Exercises with the Ensemble 43 Exercise in Note Decay . 44 Dynamic Performance . 46 Dynamic Counting .. 47 Crescendo Exercise . . 48 Decrescendo Exercise . 49 Decrescendo - Crescendo Exercise . 49 so Crescendo - Decrescendo Exercise . iv A Burst of Sound . 50 Color Shifts . . . . 51 The Ruler ofTime 53 Demonstrating Tempo Variations. 56 Speaking Musically for Meaning . . . 58 Discovering Our Emotional Center 61 The Three Natural Laws of Musical Expression . 62 I. Low Searches for High . 63 2. High Searches for Low. . . . . . . . . . 64 3. Short Looks for Long . . . . . . . . . . 65 Musical Examples: Natural Laws of Musical Expression 68 Jumping the Hurdles ofNotation ... 71 Exercises in Free-Form Expression 73 Intonation and Ensemble Sonority . 75 The Art ofTuning Overtones . . . . . 77 Exercise in Straight-Line Tuning . 78 The Power of the Fundamental Pitch: Target Tuning . 80 Student Responsibility for Balance, Blend, and Intonation . 81 Six-Step Tuning Process. . . . . . . . . . . 82 Section Tuning ............ . 83 Principal Players and Full-Ensemble Tuning 84 Exercise in Full-Ensemble Listening 86 Sight Reading. 87 Finale ................. . 88 PART 3. LEADER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 The Importance of Instrumental Music . . . . . . .92 You Can Make a Difference by Leading the Way . .102 Organizing the Session . .104 Program Format . ........ . .105 Instructional Modules . . . . . . . . .106 Data Control for Program Longevity . .114 Enrollment and Graduation Data Form . .114 Inventory Cost-Value Form . . . . . . . .116 Grade-Level Enrollment and Participation Form . .118 Finale. . . . . . . . . . . . . . . . ..... . .120 SOURCES AND REFERENCES . .121 ABOUTTHEAUTHOR ..... .123 v FOREWORD A N OLD HINDU PROVERB STATES that "no man should compare himself to his fel low man; rather the comparison should be to the man he was yesterday." Since the Creative Director Series began in 1991, the writings of Edward Lisk have pro vided all music teachers with an ongoing opportunity to look inward, compare the content and results of their teaching style to the methods revealed in these valuable resources, and move forward into tomorrow with proven strategies for individual and collective musical growth. During a period when the focus of music education has shifted so heavily to topics of mentoring, assessment, and standards, the musi cal insights found throughout these books have been a welcome catalyst for raising the awareness of what is possible musically at any level of conducting, teaching, and leading. Within the pages of this new addition to an already generous compilation of ideas, the author expands on his previous writings guided by the countless conversa tions his books and workshop presentations have sparked with music teachers around the world. By continuing to define the priorities of knowledge necessary to create an optimum musical experience, the reader is transported on a journey of reflection en tailing more than fifty years of performance and teaching experience. From this road so well traveled, we are all privileged to gain the musical perspectives as well as the "nuts and bolts" insights of such a thoughtful pedagogue whose focus throughout is the quality of the musical endeavor rather than the travel or trophies often associated with today's successful music programs. I am delighted to endorse the three levels of responsibility (conducting, teaching, leading) outlined in this book as necessary for true success and creativity. Our society often views creativity as the outlandish or the tangible evidence of creative produc tion. However, creative theory and philosophy teaches that each of us has the poten tial to be creative in the everyday act of living. The philosopher Linda A. Firestone suggests, "Creativity is found where the search for a new and better ordering of life exists." The materials outlined in this book challenge us to examine our "ordering of life" as music teachers. Are we using the tangible commodities of our student's time and talents to full advantage in our efforts to teach the expressive and creative power of this art we call music? The model offered by Mr. Lisk provides the opportunity to access this question objectively and provides tangible methods for increasing our own creativity within each level of responsibility expected of every music teacher. vi In his book 7he Courage to Create, Rollo May defines true creativity as "a balanced merger between the creator's objective world (craft) and his subje~Ytive world (materi al)." The principles presented in 7he Creative Director provide an optimally balanced merger for the effective rehearsal as well as the inspiration and encouragement to cre ate a new order of priorities that will benefit all who cross our musical paths. Finally, Igor Stravinsky eloquently noted, "In order to create there must be ~ dynamic force, and what force is greater than love?" The love shown for teaching and music making demonstrated by Edward S. Lisk is truly a dynamic force in music education. This book will only add to the momentum of a creative life's work so lovingly spared. Michael Haithcock, Director of Bands University of Michigan, Ann Arbor, Michigan vii PREFACE T HE CREATIVE DIRECTOR SERIES BEGAN IN 1991 with its first publication by Meredith Music Publications. In preparing this text, I contemplated on how I could enhance all my previous publications. The thousands of directors who at tended my clinics, workshops, and graduate sessions throughout forty-five U.S. states, five Canadian provinces, and Australia strongly influenced my direction and writings. Considerable discussion always surrounded these sessions. Most important was the director's desire to increase his or her awareness and understanding of this musical world that I write about, as they all experienced immediate success with this system of musical learning. Throughout these sessions and conversations with direc tors, I learned so much regarding our wonderful profession of teaching and conduct ing bands. A new dimension in teaching, thinking, practicing, and playing an instrument! This statement best describes my publications, as this system presents many unique teach ing techniques that assure students a successful musical experience. The entire system places a high priority on musical knowledge, understanding, and the application of what was taught and learned. "Alternative Rehearsal Techniques" provide a system based upon instructional concepts and a series of pitches that connect all musical learning. This intelligent musical thinking system ensures error-free performance. The publication is in three parts, with each part describing optimal qualities and characteristics for the Creative Director as conductor, teacher, and leader. In Part 1, "Conductor," I speak about conductor listening skills and expressive conducting. The priorities became apparent as I observed the many guest conductors and composers who served my wind ensemble over the years. Their rehearsal design was unique as they guided and directed the young musicians in shaping beautiful music that elevated their artistic responsiveness. These observations helped to shape my philosophy on conducting and listening skills, harmonic and melodic content, ensemble sonority, and expressive conducting-ideas central to the success of my career as a conductor and teacher. In Part 2, "Teacher," I restate many of the instructional concepts found in my previous publications. Most of the instructional concepts have taken on new dimen sions as a result of my travels as a clinician and conductor. I emphasize the important connections as they evolve and spiral, shaping a young student musician to be very competent in the world of music making. viii The sequence of techniques found in this section provides a coherent approach to teaching the fundamentals of instrumental music. It is important to understand that concepts evolve and connect the many "bits and pieces" of musical performance. Becoming aware and sensitive as a conductor to the inner flow of thoughtful expres sion, we are likely to change the dimension of a rehearsal setting by creating new or der and priorities when bringing the detached parts together. The concepts create an ensemble sensitivity and awareness, with instrumentalists who think, sense, and feel music as one. The system of musical learning releases the ensemble's natural expres sive qualities, providing intrinsic value rather than an extrinsic reward. Part 3, "Leader," addresses critical responsibilities in becoming a "leader" for your instrumental program and helps you learn to communicate the importance of instru mental music. I examine the complexities of teaching instrumental music through the framework provided by Howard Gardner's renowned "Theory of Multiple Intel ligences" to show that what we do with our music students can have massive learn ing implications across the broader academic curriculum. I identify this program as Leading the \.%y. This approach maintains the importance of the concert performance to an in strumental program, but expands upon it to also help the Creative Director raise awareness of the value of instrumental music in your school district. Recognizing that our adult audience members are the product of someone else's music program (as general music is required throughout elementary and middle school levels), there is great variation in their values, support, and beliefs. Moreover, most school systems lack awareness for the unique needs of a successful instrumental program-and with heightened awareness would come heightened support. This special program gets ev eryone on the same page. You can make a difference by Leading the \.%y! Part 3 concludes with a discussion of how you, the director, can collect and maintain important enrollment data to ensure ongoing balanced instrumentation, adequate staffing, adequate facilities, a sufficient budget, and continued administra tive support. This system of musical learning brought much joy throughout my years of public school teaching and guest conducting all levels of bands, from elementary through college and professional bands. The results and response are overwhelmingly sup ported. Read on, and I hope you experience many joyous moments as you make beautiful music.