Rehearsal Diagnostics

Question 1

In what ways can you guarantee the “symphonic release” (perception of all voices cutting off together) of a chord. Explain how instruments in various registers affect this.

Answer 1

The cut off needs to be in this order: soprano voices, alto, tenor and then bass voices last. Tuba, bassoon, bari sax, and bass clarinet should be the last sound the group hears on the cut off.

Question 2

During the playing of a march , with 16th notes in the woodwinds and quarter notes in the baritone/baseline, the tempo gets slower and slower. What are the likely causes?

Answer 2

• Thick, heavy tonguing
• Too much of a legato tonguing style
• Woodwind players are dragging the technically challenging 16th note passage
• Low voice - no separation
• Low voice - attack too heavy, plodding

Question 3

A long phrase peaks at ff and then relaxes to a pp final cadence. Explain common problems which frequently occur at these two points with a full band.

Answer 3

• Over blowing at ff
• Bad tone, blatty at ff
• Unsupported, fuzzy tone at pp
• Flat at pp in some instruments (flute - low notes)
• Sharp at pp in some instruments (squeezing on higher notes in brass)
• Tempo slows at pp

Question 4

What techniques can be used to help precision and forward motion of the musical phrase.

Answer 4

• No breathing on a bar line
• No breathing in the middle of a phrase
• More energy (speed or volume) should be used moving into the height of the phrase

Question 5

An alto sax in your band is playing D at the bottom of the staff (written pitch). What is the expected pitch problem?

Answer 5

D at bottom of staff is flat

Question 6

What are the main problems contributing to poor balance? (assuming a balanced instrumentation)

Answer 6

• The band does not keep the SATB pyramid balance while playing
• The soprano and alto instruments play a lot louder than the tenor and bass instruments
• The high brass have more power than the woodwinds

Question 7

Speaking in general terms, an oboe player often (especially students) take too much reed in the mouth and exert excessive jaw pressure. If that is true, what issue does it present?

Answer 7

Sharp, poor tone quality, hard to adjust pitch

Question 8

What is wrong with the pitch on flute (Eb above staff) and in what ways might the student correct it?

Answer 8

This is a very sharp note and the student can roll in, focus the air stream down and/or pull the head joint out a little bit to bring down the pitch.

Question 9

Based on the ABC pitch tendency chart, what is wrong with the pitch on alto saxophone (3rd space C#) and in what ways might the student correct it?

Answer 9

This is a flat note on saxophone. The student can firm up the embouchure and increase air to bring up pitch.

Question 10

Trumpet embouchure: In short phrases describe embouchure formation principles.

Answer 10

• Lips in “B” position (“dim” - together)
• Think “banana” or “dim”
• Blow through the lips or “sight through the banana”
• 1/2 of mouthpiece on lower lip other 1/2 on upper lip
• Keep teeth apart so air is not restricted

Question 11

Trumpet embouchure: The player is having problems slurring the notes in this arpeggio. What techniques can you give to help the student slur each note?

Answer 11

• Practice slurring from note to note slowly
• Use more air as student goes higher
• Close aperture as the notes get higher
• Raise tongue in mouth as the notes go higher