GUIDEPOSTS TO MUSIC

1998 Purcell Marian High School Cavalier Band

1. MELODY

Melody is the most important part of any musical composition. Where is the melody? Who is playing the melody and for how long? These are the questions you need to ask yourself at all times. Strive at all costs to allow the melodic line to stand out from the music.

2. HARMONY

The chordal accompaniment to the melody that supports it and gives a foundation for hearing the whole piece of music. Secondary importance only to the melody. The harmony or accompaniment must be played with precision and in tune for the melody to succeed. Listen for the harmonic progressions and perform them as such. Consider harmonic ideas on the basis of chordal importance and not on instrumental weight. Balance chordal voices rather than instruments; there is a difference.

3. RHYTHM

The pulse and pattern of the music that moves it forwards. Rhythmic drive and forward motion are essential to all music. Can be applied to the melody and harmony. What rhythmic patterns repeat themselves in the music?

4. DYNAMICS

Determine the composer’s basic dynamic intention. Is it a loud piece or a soft piece? Where do the dynamics change? At what dynamic extremes is the piece performed at? Fortissimo sections must be just as full as pianissimo sections. Avoid losing quality or intensity at any dynamic level. Dynamics are the building blocks of correct musical phrasing. The conductor shows the desired dynamic level by the range of movement expressed; look to the conductor for the dynamics.

5. TEMPO

How fast should the music be performed? Does the tempo change during the piece of music? Knowing all of the notes and rhythms of a piece is the first step towards becoming an independent musician and using the tempo to your advantage. Control your tempos; don’t let them control you. The conductor shows the tempo with each pulse; look to the conductor for the tempo.

6. TEXTURE AND TIMBRE

How are the many different instruments of the band combined to create different sounds? Do you often listen for the changing instrumentation, color possibilities, and the tonal density? An honest basic tone quality is the primary goal (that is why we practice chorales). The band’s tonal palette is fantastically rich; always contribute your sound to the whole picture. Strive to create new colors by the proper balancing of different melodic and harmonic line instruments.

7. EMOTIONAL INTENT

What is the artistic aim of the composer? What historical, musical, and philosophic ramifications affect the score? Is there a story behind the composition? What does the piece of music mean to you, personally, and how is that communicated to the audience when you perform as a band? Find the melodic and/or harmonic phrase and communicate the phrase to the audience. Each phrase has a beginning, climax and an end. All musical phrasing is natural; there are rarely any totally “wrong” ways to phrase music, only different.

8. TECHNICAL

Look for fingering problems, breath marks, trills, turns, and awkward lines or intervals. Isolate technically difficult passages for special work or simplification. Practice these parts at home. Isolate the problem and work on it over a period of a few weeks. Technical problems are solved by isolation and individual practice; nothing else will work.