Two Kinds of Music Students

“Creativity is a type of learning process where the teacher and pupil are located in the same individual.”–Arthur Koestler, author

The tricky passage that finally rings true, the ‘aha’ moment, the transcendent performance – all are creative achievements that result from learning.

In effect, the more adept we become at learning, the more facile we’re likely to be with the creative process.

And for us musicians, only deep learning enables us to perform securely and artistically under pressure.

From Musiciansway.com


I’ve observed that music students generally divide into two types of learners: deep or shallow.
Here are some distinctions between those two types.

“The more adept we become at learning, the more facile we’re likely to be with the creative process.”

Deep vs Shallow Learners

Deep Learners

•  Set specific practice goals and then work in organized yet flexible ways
•  Isolate problem spots in practice – they vocalize rhythms, play hands alone, recite song text, etc.
•  Maintain awareness as they play or sing, directing their actions from within
•  Infuse their practice with joy and spontaneity
•  Manage repetition so that they absorb passages without needing to repeat them ad nauseum
•  Listen intently in practice and evaluate their work with open minds
•  Embody excellence
•  Perform securely and enthusiastically

Shallow Learners

•  Practice haphazardly without clear objectives or are overly rigid and mechanical
•  Play or sing through lengthy sections without attending to specific details
•  Often let their attention wander during practice
•  View practice as drudgery that must be endured
•  Repeat endlessly, hoping that repetition alone will bring security
•  Evaluate sporadically, often drifting off pitch and out of rhythm
•  Let inaccuracies and difficulties slide by unaddressed
•  Deal with persistent performance anxiety and may dread performing

Fortunately, musicians with shallow learning habits can transform themselves into deep learners by setting clear goals, gaining disciplined practice habits, employing self-motivation strategies, and seeking expert guidance.

Double Tonguing

http://banddirectorstalkshop.com/2018/04/07/demystifying-the-double-tongue-technique/

DEMYSTIFYING THE DOUBLE TONGUE TECHNIQUE

April 7, 2018 BandDirector 

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Brass (High Brass), Brass (Low Brass)

Articulation is something that brass players must practice on a daily basis. There are many types of articulation, legato to staccato, that help determine style. Additionally, speed is another aspect that must be practiced. After a certain tempo, single tonguing (just using a “T” syllable) is not feasible due to the fast tempo. Brass players have a technique called double and triple tonguing to assist with articulating notes at fast tempos. Lastly, syncing (aligning) the fingers and tongue at different tempi is another technique that must be practiced.

Before practicing multiple tonguing, one must possess a good single tongue technique. Problems arise when too much manipulation occurs to place the tongue in certain areas of the mouth. It is best to take a simple approach. I like to tell students to say, “Tu”. Wherever the tongue hits, that is where one “tongues”.

According to the famous cornet teacher, Jean-Baptiste Arban, “Always remember that the phrase coup de langue (stroke of the tongue) is merely a conventional expression. The tongue does not strike; on the contrary, it performs a retrograde movement, simply behaving like a valve… the pronunciation of the syllable “tu” serves to determine the attack of the sound.”

Arban further states, “…He warns the pupil that the word “striking” is only a term and that the tongue does not give a blow as to strike but instead operates with a backward movement like the action of a valve.”

There is a misnomer that the tongue strikes harder for a shorter note. The tongue only releases the air, and how one releases the air determines the type of articulation. The air should never stop when articulating; rather, the air is interrupted. The tip of the tongue (in the front of the mouth) is what interrupts the air to articulate. This movement should be practiced on one note initially before adding notes on different pitches and with that, finger motion. It is ideal to practice scales and exercises based on scales to produce a solid single tongue articulation.

Once a solid single tongue technique has been established, it is then appropriate to move on to multiple tonguing. I feel that learning a good double tongue technique before the triple tongue is best. It should be noted that the famous “Arban” method introduces the triple tongue initially in the book before introducing the double tongue exercises.

A great exercise to practice is one in which the T and K syllables are isolated and practiced separately. Most students struggle with the K syllable initially. The K syllable is simply articulating with the back of the tongue. The back of the tongue rises and momentarily obstructs the air. Arban explains it best, “The tongue should then reascend to the roof of the mouth and obstruct the throat, dilating itself by the effect of the pronunciation of the syllable ku, which, by allowing a column of air to penetrate into the mouthpiece, determines the K [sic] sound”.

I recommend starting students on multiple tonguing as early as possible but only after a good sound and single tongue articulation has been achieved.

This is a great exercise to isolate the “K” syllable in the double tongue. The exercise should be practiced at quarter note = 100. The tempo can be increased as one’s tonguing ability improves. It is essential to keep a fast and intense air stream flowing through the instrument in order to produce an even alternation between the single and double tongue syllables 
so that the rhythm doesn’t have a swing feel. 
Use one pitch (middle register) for the entire exercise and go either up or down chromatically to get repetitions on the exercise.

Raquel Rodriquez is the Assistant Professor of Trumpet at Tennessee Tech University. Raquel maintains a versatile career as a performing artist, clinician, educator, and scholar. Raquel is principal trumpet of the Bryan Symphony Orchestra and the Brass Arts Quintet, both faculty ensembles-in-residence at Tennessee Tech. Raquel is principal cornet with the Southern Stars Symphonic Brass Band (TN) and a member of Seraph Brass. You may read more about Dr. Rodriquez at http://www.solotromba.com/home/

Band Isn't Fun Anymore by Scott Lang

This is the clarion call of late September. Gone are the fun-filled days of band camp where team building and bonding activities were paramount and smiles were aplenty. The energy of new faces, new music, and new drill have been replaced with the drudgery of cleaning the opener while simultaneously trying to get the ballad on the field and memorize the closer.

The repetition and drudgery associated with daily rehearsals are starting to take there toll, but the energy and enthusiasm associated with contests and competitions are a ways away. Add to this homework, tests, jobs, and the other responsibilities associated with being a teenager, and your students might be right, band might not be fun anymore. Here 's a secret... It’s not supposed to be fun. You never said it would be fun. You said it would be memorable.

Except for the occasional trip to an amusement park, there is very little in my teenage life that was “fun” that I can remember.

I am sure that going to the movies was fun, but I don’t remember what I saw. I am positive that going on dates was fun, but I can’t remember a single one of them, and trust me, there weren 't that many to remember. I would guess that going out to lunch with my friends was fun, but I don't remember where we went or what we ate. I 'm positive that hanging out with my friends on a Friday night was fun, but for the life of me, I can’t remember ever doing it. I don’t remember doing anything fun, but I remember band.  Perhaps you should take just a minute and write down some of your favorite memories from band experience. You could even do this with your section to be reminded that even though the activity can be difficult, it is important to remember how special these times are.

I remember being so hot that I thought I was going to die, but running back to my spot anyway. I remember being so exhausted for early morning rehearsals, but crawling out of bed anyway. I remember being so sick of marching and playing the same three songs each and every day, but playing and marching them again anyway. I remember them like they were yesterday. I remember the good. I remember the bad, and the people I shared it with. I remember band. Yes, band isn’t fun anymore. But then again, you never said it would be. You know what band is? Band is worthwhile. Band is life-changing. Band is working hard with the same people, fighting through the bad days, and celebrating the good ones together. Band is memorable. Band is family. Band is sleepless nights and never-ending days. That’s what band is. And I remember it like it was yesterday! Have a great week everyone. Work to do soemthing FUN for your section.

Have a great week!