Teaching Ensemble Fundamentals

within the Music:

An Approach to Maximize Rehearsal Efficiency

PRESENTERS:
Dr. John D. Pasquale, University of Michigan
Patricia D. Hughes, Cedar Ridge High School
Arris A. Golden, Gravelly Hill Middle School

Demonstration Group
The Gravelly Hill Middle School Concert Band

Sixty-Sixth Annual

Midwest Clinic

An International Band & Orchestra Conference

McCormick Place West

Room W184

Wednesday, December 19, 2012

1:10 pm
a
Teaching Ensemble Fundamentals
within the Music:
An Approach to Maximize Rehearsal Efficiency

PRESENTERS:
Dr. John D. Pasquale, University of Michigan
Patricia D. Hughes, Cedar Ridge High School
Arris A. Golden, Gravelly Hill Middle School

Demonstration Group
The Gravelly Hill Middle School Concert Band

Sixty-Sixth Annual

Midwest Clinic

An International Band & Orchestra Conference

McCormick Place West

Room W184

Wednesday, December 19, 2012

1:10 pm
a
 Teaching Ensemble Fundamentals within the Music:

An Approach to Maximize Rehearsal Efficiency

1. The Directed Listening Hierarchy

Pulse
1. internalization of subdivided pulse
2 metered inhalation
3. metered exhalation
4. start of the note precisely in time
5. length of note (precise durational value)
6. change of the note precisely in time
7. release of the note precisely in time

Body of Sound
1. embouchure
2. air stream
3. articulation production
4. vowel shape
5. characteristic sound quality
6. resonance
7. note shape
8. release of note
9. executive skills
10. instrumental tendencies

Symmetry
1. tonal strength
2. volume
3. levels of listening
4. ensemble symmetry chart
5. manipulation of the ensemble symmetry formula

Musicality
1. forward motion
2. tonal energy
3. style
4. dynamics
5. cadential clarity

PAGE ONE
2. Synopsis of the referenced counting system

Rhythmic Examples

PAGE TWO
3. List of fundamental articulation syllables for each instrument
Flute “dah”
Double Reeds “dah”
Clarinet “dee”
Bass Clarinet “doo”
Saxophones “doo”
Trumpet “dah”
Horn “dah”
Trombone “dah”
Euphonium “dah”
Tuba “dah”
Percussion “dah”

*Syllables with which the tongue touches the teeth or reed and subsequent shape of the
tongue as it rests inside the oral chamber following the articulation.

PAGE THREE
4. Fundamental parts of the instrument to assess proper embouchure production and
tongue placement.
Flute Headjoint
Oboe Reed
Bassoon Bocal and reed
Clarinet Mouthpiece and barrel
Bass Clarinet Mouthpiece and neck
Saxophones Mouthpiece and neck
All Brasses Mouthpiece
Percussion Mallets or sticks appropriate to the instrument played

Concert pitches that should be produced by woodwind fundamental parts

Brasses should match a reference pitch.

5. Physical ratio of air stream to lip vibration used in the cup of the mouthpiece of
brass instruments for fundamental tone production.

Trumpet 50% air, 50% lip vibration

Horn 50% air, 50% lip vibration
Trombone 60% air, 40% lip vibration
Euphonium 60% air, 40% lip vibration
Tuba 70% air, 30% lip vibration
PAGE FOUR
Figure 1. Ensemble Symmetry Chart *

Upper Voices Middle Voices Low Voices

Piccolo English Horn Bassoon Percussion
Flute Alto Clarinet Bass Clarinet
Oboe Alto Saxophone Tenor Saxophone
E-flat Clarinet Baritone Saxophone
B-flat Clarinet Contra Clarinet
Contra Bassoon

A B C
Trumpet Horn Tenor Trombone
Euphonium
Bass Trombone
Tuba

D E F G

Figure 2. Ensemble Symmetry Formula *

A=B=C=D=E=F=G

*The goal of Figures 1 and 2 are to aid the students in

creating a frame of reference of ensemble balance with
specific listening responsibilities in real time. For the
beginning of conceptual understanding of ensemble
balance, students should have a tangible reference tool from
which to manipulate their sounds. Often times, educators
assume this skill to be innate within the students when,
in fact, it is not. These figures provide a suggested starting
place for instruction. By no means are the clinicians
suggesting that all voices in music should be heard equally.

PAGE FIVE
 Commonly Used Ensemble Pedagogy Terms and Definitions
Commonly  Used  Ensemble  Pedagogy  Terms  and  Definitions

Air  Stream:  The  column  of  air  used  to  play  a  wind  instrument.
Articulation:  The  physical  action  of  beginning  a  note  with  the  tongue.  
Back-­side  of  the  note:  A  physical  description  of  where  the  sound  stops.
Balance: The  volume  manipulation  component  of  creating  symmetry  of  sound  within  
ensemble  settings.
Body  of  sound:  The  “core”  between  the  articulated  front-­side  and  back-­side of  the  note.
Cadential  clarity: The  symmetrical  hearing  of  voice-­leading  and  resolution  within  a  
musical  context.
Characteristic  sound: The  result  of  allowing  the  instrument  to  vibrate  in  the  center  of  
the  harmonic  series  as  a  result  of  the  balance  of  air,  resistance  of  the  instrument  to  
create  resonance,  strength  of  the  embouchure,  and  mental  audition  of  the  pitch.
Clarity  of  Note  Shape: The  clearly  defined  articulation,  consistently  sustained  body,  and  
release  of  a  note.
Dynamic  production:  The  physiological  process  of  creating  changes  in  volume  within  a  
musical  context.
Embouchure:  The  physiological  components  of  the  face  and  oral  cavity  involved  in  
properly  producing  a  resonant  and  characteristic  sound  on  a  wind  instrument.
Ensemble  Clarity:  The  result  when  individual  players  combine  with  other  players  in  
producing  sounds  that  are  precisely  together,  fundamentally  characteristic  and  
resonant,  symmetrical,  and  performed  musically  in  regard  to  the  composer’s  intent.
Ensemble  Color:  The  specific  combination of  characteristic  sounds  from  individuals,  
sections,  or  voices  that  consist  of  the  most  mature,  vibrant,  and  consistent  sounds  
throughout  all  registers.
Ensemble  Volume: The  sum  of  combined  decibels  when  each  instrument  of  the  wind  
ensemble  is  playing  together  in  a  symmetrical  sound.
Executive  Skills:  The  physiological  and  mechanical  skills  of  finger  dexterity,  lip  
flexibility,  and  rate  of  articulation.
Forward  Motion: The  manipulation  of  relationships  between  note  beginnings  with  prior  
or  subsequent  releases  within  a  musical  phrase.
Front-­side  of  the  note:  A  physical  description  of  where  the  sound  starts.
Fundamentals: The  individual  pedagogical  skills  required  to  begin,  sustain,  change,  and  
release  a  note  on  each  instrument.
Instrument  tendencies: Specific,  inherent  individual  performance  issues  associated  with  
the  construction  of  each  instrument.
Internalization  of  pulse:  The  technique  of  a  player  feeling  the  pulse  within  their  body  
before  and  while  they  play.
Level  1  listening:  The  listening  responsibility  when  the  individual  player  solely  listens  to  
himself  or  herself.
Level  2  listening:  The  listening  responsibility  when  the  individual  player  listens  and  
matches  others  in  the  section  or  voice  color.
Level  3  listening:  The  listening  responsibility  when  the  section  or  voice  color  listens  and  
matches  all  other  sections  within  the  ensemble.
Macrobeat: The  primary  beat  within  the  meter.

PAGE SIX
Microbeat: The  division  of  a  primary  beat  within  the  meter  into  duple  or  triple  
components.  
Meter:  Organizing  equal  divisions  of  time  into  patterns  of  strong  and  weak  beats.
Microbeat: The  division  of  a  primary  beat  within  the  meter  into  duple  or  triple  
Metered Inhalation: Breathing in for a prescribed number of beats prior to the
Musicality:  The  relationship  between  musical  events  as  per  composer  intent  and  
components.  
conductor  interpretation.
start of a note.
Meter:  Organizing  equal  divisions  of  time  into  patterns  of  strong  and  weak  beats.
Note  changes: The  relationship  of  instrumental  fundamentals,  mechanics,  and  note  shape  
Musicality:  The  relationship  between  musical  events  as  per  composer  intent  and  
at  the  precise  time  within  the  meter  from  one  note  to  another.
conductor  interpretation.
Note  starts:  A  physical  description  of  the  front  of  the  note.
Note  changes: The  relationship  of  instrumental  fundamentals,  mechanics,  and  note  shape  
Open-­throat  note  release:  The  most  resonant  ending  of  a  note  where  the  throat,  oral  
at  the  precise  time  within  the  meter  from  one  note  to  another.
cavity,  and  embouchure  do  not  move  as  the  note  is  released.  
Note  starts:  A  physical  description  of  the  front  of  the  note.
Phrasing: The  result  of  proper  instrumental  fundamentals,  tonal  strength,  tonal  energy,  
Open-­throat  note  release:  The  most  resonant  ending  of  a  note  where  the  throat,  oral  
and  forward  motion  within  a  defined  musical  context.
cavity,  and  embouchure  do  not  move  as  the  note  is  released.  
Pulse:  The  equal  division  of  time  into  portions.
Phrasing: The  result  of  proper  instrumental  fundamentals,  tonal  strength,  tonal  energy,  
Resonance:  The  quality  of  a  sound  as  a  result  of  sympathetic  vibrations  within  the  
and  forward  motion  within  a  defined  musical  context.
harmonic  series  achieved  through  proper  playing  fundamentals.
Pulse:  The  equal  division  of  time  into  portions.
Rhythm: The  relationship  between  sound  and  silence  in  relation  to  pulse.
Resonance:  The  quality  of  a  sound  as  a  result  of  sympathetic  vibrations  within  the  
Side-­to-­side  energy:  An  individual  matching  of  all  aspects  of  wind  playing  with  
harmonic  series  achieved  through  proper  playing  fundamentals.
performers  on  either  side.
Rhythm: The  relationship  between  sound  and  silence  in  relation  to  pulse.
Style: The  manipulation  of  note  shapes  and  releases  following  the  note’s  articulation  
Side-­to-­side  energy:  An  individual  matching  of  all  aspects  of  wind  playing  with  
within  a  given  musical  context.
performers  on  either  side.
Subdivision: Deconstructing  meter  to  its  smallest  rhythmic  value  appropriate  to  the  
Style: The  manipulation  of  note  shapes  and  releases  following  the  note’s  articulation  
tempo.
within  a  given  musical  context.
Subdivision:The  result  of  each  instrument  heard  at  a  tonal  strength  appropriate  for  the  
Symmetry: Deconstructing  meter  to  its  smallest  rhythmic  value  appropriate  to  the  
music.
tempo.
Texture: The  result  of  the  combination  of  various  instruments  or  voices  playing  together.
Symmetry: The  result  of  each  instrument  heard  at  a  tonal  strength  appropriate  for  the  
Tonal  Energy:  The  relationship  and  manipulation  of  individual  and  ensemble  sounds  
music.
played  with  tonal  strength.
Texture: The  result  of  the  combination  of  various  instruments  or  voices  playing  together.
Tonal  Strength:  The  combination  of  resonance,  quality,  timbre,  and  volume  in  an  
Tonal  Energy:  The  relationship  and  manipulation  of  individual  and  ensemble  sounds  
individual  sound.
played  with  tonal  strength.
Vowel  sounds:  A  technique  for  wind  instruments  of  shaping  the  tongue  with  a  vowel  
Tonal  Strength:  The  combination  of  resonance,  quality,  timbre,  and  volume  in  an  
sound  within  the  oral  cavity  to  create  a  desired  tone  quality  depending  on  the  register  
individual  sound.
of  the  music.
Vowel  sounds:  A  technique  for  wind  instruments  of  shaping  the  tongue  with  a  vowel  
sound  within  the  oral  cavity  to  create  a  desired  tone  quality  depending  on  the  register  
of  the  music.

Pasquale, John D. “Directed Listening for Wind Ensemble Conductors: a Pedagogy For Developing Aural Analysis
and Effective Rehearsal Strategy.” D.M.A diss., University of Oklahoma at Norman, 2008.

PAGE SEVEN
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PAGE NINE
ABOUT OUR PRESENTERS
JOHN D. PASQUALE

Dr. John D. Pasquale is a member of the conducting faculty at the University

of Michigan serving as the Assistant Director of Bands. In this position, he is
the conductor of the University Band; conductor of the Campus “Maize” and
“Blue” Bands; Associate Director of the Michigan Marching and Athletic Bands;
Director of the Michigan Hockey Band; guest conductor with the Symphony
Band, Symphony Band Chamber Winds and Concert Band; inaugural
conductor of the Alumni Concert Band; teaches conducting and program
administration through independent study; and directed the summer program,
“Instrumental Music Education in China: Cross-Cultural Performance and
Pedagogy,” in Beijing, Shanghai and Xi’an, China.

In addition to his responsibilities at the University of Michigan, Dr. Pasquale

served as the Music Director of The Dodworth Saxhorn Band, “America’s
Premier 19th Century Brass Band.” In this position, Pasquale guided the
historically authentic recreation of 19th century brass band repertoire, played on
Dr. John D. Pasquale
period instruments, through performances and tours spanning the United States
and Canada. In the genre of marching and pageantry arts, Dr. Pasquale served
as the Associate Brass Caption Manager of the Santa Clara Vanguard Drum and Bugle Corps from Santa Clara,
California, and taught ensemble music as a member of the Brass Staff of the Cavaliers Drum and Bugle Corps from
Rosemont, Illinois. Through his teaching at the Cavaliers, Pasquale was a contributor to the instructional DVD
entitled, The Cavaliers Brass: From the Concert Hall to the Football Field, which has been met with international
acclaim. During his tenure from 2002-2009, the Cavaliers have been named Drum Corps International World
Champions three times and the recipient of two Jim Ott Awards for “Excellence in Brass Performance.”

Receiving the Doctor of Musical Arts degree in Conducting from the University of Oklahoma at Norman in 2008,
Pasquale served as a conducting associate to the Wind Symphony, Opera Orchestra, “The Pride of Oklahoma”
Marching Band, New Century Ensemble, Faculty Composer Concert Series, Symphony Band, Concert Band and
the Weitzenhoffer Family Department of Musical Theatre. In addition, he was an adjunct instructor and graduate
teaching assistant within the Music Education Department. He holds a Master of Music degree in Instrumental
Conducting from the University of Oklahoma and a Bachelor of Music Education degree from Texas Christian
University in Fort Worth, Texas.

Prior to attending the University of Oklahoma, Dr. Pasquale conducted an internationally recognized and
competitive middle school wind ensemble holding the position of Director of Bands at Griffin Middle School in
The Colony, Texas, within the Lewisville Independent School District. During his four year assignment, Pasquale
was the 2001, 2002 and 2003 recipient of the “Making A Difference Award” given by the student body of Griffin
Middle School and received the 2003 nomination for Griffin Middle School “Teacher of the Year.”

Dr. Pasquale is in demand as a conductor, clinician, pedagogue and adjudicator in band and orchestra programs
throughout the United States and Asia.

Contact Information | [email protected] | 734-763-5891

PAGE TEN
PATRICIA D. HUGHES

Patricia D. Hughes is the Director of Bands at Cedar Ridge High

School in Hillsborough, North Carolina. A 1990 recipient of the North
Carolina Teaching Fellows Scholarship, Ms. Hughes attended the
University of North Carolina at Chapel Hill, earning the Bachelor of
Music Education Degree in 1994 and later attended The University of
North Carolina at Greensboro (UNCG) earning the Master of Music
Education Degree in 2004. She received certification from the National
Board for Professional Teaching Standards in 2007.

Since the foundation of the band program at Cedar Ridge, ensembles

have performed concerts and participated in festivals throughout the
eastern United States, and in 2006, was a featured ensemble at the
annual North Carolina Music Educator’s Conference in Winston Salem,
North Carolina. Student performers in each of the Cedar Ridge Bands
have achieved numerous individual accolades and are members of
Patricia D. Hughes
countywide, district-wide, collegiate, and all state honor bands each
school year.

As a member of the Central District Bandmasters Association (CDBA), Ms. Hughes has served in
many capacities throughout her career. She has been chairperson of the Central District High School
All-District Band Clinic and has served as the chair and site host of the Central District Middle and
High School Concert Band MPA from 2005-2012. Most recently, she served as the Secretary for this
organization, from 2004-2012.

Patricia was chosen by her colleagues as the North Carolina Central District Award of Excellence
recipient in 2006 and was selected as the Central District’s Band Director of the Year in 2005. In 2008,
Ms. Hughes was the North Carolina Representative featured in School Band and Orchestra Magazine’s
annual “50 Directors Who Make a Difference” article. Ms. Hughes was also featured in the Conn-Selmer
Keynotes Magazine as the “Director of Note” in the spring of 2006. Most recently, Ms. Hughes has been
elected by her peers to the prestigious American School Band Director’s Association. Ms. Hughes is also
active as an adjudicator for both concert and marching band and is a member of the UNCG Summer
Music Camp conducting staff.

Contact Information | [email protected] | 919-245-4000

PAGE ELEVEN
 Arris A. Golden
Arris A. Golden is the Director of Bands at Gravelly Hill Middle
School in Efland, North Carolina. Ms. Golden received her
undergraduate degrees in Music Education and Political Science
from the University of North Carolina at Chapel Hill in 1996 and
1991, respectively, and received the Master of Music Education
degree from the University of North Carolina at Greensboro
(UNCG) in 2004. Ms. Golden has also completed coursework
toward the Doctorate in Educational Leadership from the
University of North Carolina at Chapel Hill.

Since the opening of the Gravelly Hill Middle School in 2006, the
Gravelly Hill Bands have grown to a membership of 101 students,
featuring band classes for all grade levels, percussion ensemble,
jazz ensemble, as well as numerous smaller ensembles that meet
throughout the school year. The Gravelly Hill Concert band has
participated in multiple adjudicated festivals in the past six years,
Arris A. Golden receiving only Excellent and Superior Ratings. Student members
of the Concert Band have worked with numerous clinicians during
its six years of existence, including the premier of two newly commissioned works for young band,
“Kitsune: The Fox Spirits,” written by Mr. Brian Balmages, and “The Machine Awakes” for young
band and electronics by Mr. Steven Bryant. In November 2010, the Concert Band was honored to be
one of two featured middle school bands at the North Carolina Music Educators Association Annual
In-Service Conference held in Winston-Salem, North Carolina; this invitation included a concert
performance by the band, as well as a clinic performance under the leadership of Dr. John Pasquale,
Assistant Director of Bands, the University of Michigan, Ann Arbor. The Gravelly Hill Concert will also
premiere new works for young band by Mr. Pierre LaPlante and Mr. Michael Markowski in 2014 and
2015 respectively.

Ms. Golden was chosen be her peers as the CDBA Award of Excellence recipient in May 2009. In March
2008, Ms. Golden was honored with induction into the prestigious American School Band Directors’
Association, and in the 2006-2007 school year, Ms. Golden was named one of the United States “Fifty
Directors Who Make a Difference” by School Band and Orchestra Magazine. A Nationally Board
Certified Teacher, Ms. Golden was also named the Central District’s Band Director of the Year in 2004
and was the recipient of the Cary Chamber of Commerce “Honor a Teacher” Award in Fine Arts,
Music, and Performing Arts in the same year. Also a published author, Ms. Golden has had articles and
interviews featured in the Music Educators Journal, the North Carolina Music Educator and School
Band and Orchestra Magazine.

Ms. Golden is in constant demand as a guest conductor, concert band clinician, marching band
instructor, and marching band adjudicator throughout North Carolina and Virginia. Ms. Golden has
also served as a guest conductor for the Cape Fear Wind Symphony, Director of Athletic Bands at
Campbell University and is on staff as a conductor for the UNC-Greensboro Summer Music Camp.
Ms. Golden’s professional affiliations include the American School Band Directors Association, Music
Educators National Conference, the North Carolina Music Educators’ Association, the Central District
Bandmasters’ Association, and Sigma Alpha Iota: Women’s Professional Music Fraternity.

Contact Information | [email protected] | 919-245-4050

PAGE TWELVE
NOTES
NOTES
a