ON TEMPOS:
"Don't prove how fast you CAN'T play it."

"The SLOWER you play it, the longer the mistakes last."

"Quarter note = 120, does not mean you have 2 hours."

ON MUSIC:
"Why can't I white out parts?"

"Can I play the same piece again? We got 5's on it last year."

"Why do they call it a warm-up march if it's played last?"

"Don't leave your lips in the warm-up room."

"We always get the right notes on the repeat."

ON SIGHT-READING:
"Can we try to play it again?"

"Can we skip the stage and go directly to sight-reading?"

"Section leaders please, after S/R have all the woodwinds turn in their contest reeds for next year."

"How do you expect us to read notes we've never seen before?"

1. The Warm-up Chorale is a great vehicle for developing the proper ensemble balance. Utilizing the pyramid concept, volumes for each voice is related to the bass line, with bass line being the loudest. Separating the voices for tuning, intervals, and chord scale step proves to be the remedy for many problems. Articulation and length of notes can also be addressed by each of the four voices. Don't be afraid to use the "Bopping"* method for vertical alignment in a chorale. Phrasing is a must while mastering the chorale. When possible, find chorale section from UIL music for warm-up session.
2. Brass mouthpiece buzzing— in addition to improving embouchure, tone and tuning—can improve the ensemble by having the brass buzz the note before playing said note. This is mostly beneficial in a melodic line with large interval jumps. Have the brass section buzz, while woodwinds play scales and arpeggios.
3. "Hissing"** is my way of assuring enough air is being provided by ensemble. It is possible to develop more support with the following exercise: Have ensemble breathe 4 counts and then "hiss" for 4 counts. Followed by breathing 4 counts and then "hissing" for 8 counts. Continue process for 16 counts. The best results occur when "hissing" in done with air from diaphragm and the stomach extended out. For reed instruments, have the student start a note with ONLY a "hiss" sound, slowly producing a (pp) tone, then crescendo to (ff) and back down to (pp) and "hiss" in one breath.
4. Diaphragm air support, constant air speed, and air temperature can help develop the different needs for a better ensemble sound. Air pressure should never change; it must remain constant. This is unlike air speed which does change in order to play softer; for example, fogging the mirror with your breath is slower than blowing out several candles.
5. Work to tune your bass line. The ensemble must rely on its bass line for pitch and tempo. Having a center of pitch in your ensemble is like having your entire band stand on the 50 yard line. Melodies like show designs may leave the 50 yard line, but the field only has one center. It is necessary to listen for the lowest sound at the back of the ensemble. Practice intervals by returning to the root for best center.
6. Crescendos and Diminuendos have two important elements in common: balance and measured duration. Volume increases or decreases must keep the bottom voice strong and dominate for tuning and balance. Ensembles lose proper balance when individuals do not observe the duration of a given dynamic change. Review ensemble balance at the softest and loudest points of dynamic changes.
7. "Divisi" parts should be bottom heavy. They are often doubled in another section. Use "cued" parts wisely; avoid multiple numbers of players per part.
8. Percussion sections must be balanced from bottom up also. Placement of percussive instruments is vital. All musical styles involve the percussion section. Remember to TUNE your percussion section!
9. Band seating arrangement will depend on music selections, individual strengths and size of ensemble. One arrangement is to have 1st parts close or lined up at ensemble center. This allows soprano voices to tune more carefully. Have tenor voices like trombone and baritones close, likewise alto voices such as alto sax and French horns. A bass voice in the back of the ensemble allows everyone to listen back for tuning and balance.
10. There are as many correct syllables for articulation as incorrect, but by all means have the ensemble share the same syllables for common articulations. Please do NOT accent staccatos; distinguish between all marked articulations in selected music. It is good common practice to periodically go down the line in all sections and listen for likeness of tongue, air and embouchure.
11. A quick method to balance the ensemble is to establish section volume level marks (from 1 to 10) during your warm-up scale. In an attempt to save time, sections can be told what volume level mark to play (1 to 10) for a given period of time in the music.
12. Tempo markings are a guide or suggestion, not a rule. Variation to said tempo markings should NOT exceed more than TEN clicks either way. Sub-division of the beat is strongly suggested for alignment, precision, and style. Beat sub-division also allows you to add style emphasis on the down and up beats.