the
wind
ensemble
survival
guide
whats what and whos who
the
wind ensemble
survival guide
by lina a. colucci
welcome
Dear WE Member,
Congratulations on your outstanding audition and welcome to a new year of the LHS Wind
Ensemble! The pages that follow are a compilation of facts, helpful hints, and suggestions that past WE members wish they had gured out sooner about the wind ensemble
experience. I hope that some of this information will be of service to you. The LHS music
department is a wonderful community with some incredibly talented, funny, and interesting individuals. I hope you will take advantage of it and enjoy your time as much as I have
enjoyed mine.
Yours always,
Lina A. Colucci
Class of 2008
contents
whats what?
A Note from the Director
What else is there in the music department?
21
The Basics
Calendar
21
Course Expectations ........................................
Miscellaneous
21
Grading policy ...................................................
Recordings ......................................................
Assessments ......................................
Practice Rooms ................................................ 20
Independent project .............................
Graduation .....................................................
19
23
Concert Dress .................................................... 9
MICCA .............................................................. 23
Pops .................................................... 10
Pops .................................................................. 23
Parade Dress ....................................... 10
Secret Santa .................................................... 23
Private Lessons & Teaching
12
Wise Words (Advice & Suggestions)
24
Whos who in the wind ensemble?
13
A Final Word
25
Appendix A
26
Presidents & Section Leaders ......................... 13
Members & Seating Arrangement ..................
Surviving a rehearsal
Tuning process ...............................................
14
Scale Requirements ......................................... 26
15
15
If youre sharp/at ............................................ 15
Transposition of instruments ........................... 16
Just Enough Theory
Clefs ...............................................................
17
17
Time Signature ................................................ 17
Scales and Modes ........................................... 17
Key Signatures ...............................................
19
Minor Scales .................................................... 20
a note from
the director
Dear Students,
Welcome to the LHS Wind Ensemble. You are now a member of one of the most well
considered high school music groups in the state. This carries benets and responsibilities.
Among the benets are: the chance to play high quality wind band literature with other committed, dedicated young musicians, the opportunity to be involved in a group that has the power to
move people within and outside of that group through music, the chance to inuence and inspire
the musical choices younger students make with your performances, the pleasure of being associated with many of the brightest, most talented, nicest people at LHS, and the chance to take
your place in the illustrious history of music-making at LHS. The foremost among your responsibilities is preparation. If you come to every rehearsal with your part prepared, you will have
fullled your obligation to the music, the group, your fellow players, the audience, and nally,
yourself. That is an enormous responsibility, but one that is easy to satisfy. Plan your preparation time and promise yourself to make it happen on a regular basis; make it a habit. If we all
discharge our individual responsibility to prepare, I promise you a remarkable, life-changing
experience; one that can only occur with this group, with these people, in this year. If we succeed, you will remember and speak about our experiences with reverence and love the rest of
your life. Why would you ever want to pass up or short-change that opportunity? I am so looking
forward to our work together and to getting to know you as people and musicians. Lets have an
extraordinary year!
Thanks for being here,
Jeffrey P. Leonard
Wind Ensemble Director
the basics
Course Expectations
Attendance
Be in class by the late bell. In your seat, set up, and ready to play when the class begins.
LHS attendance policy is in effect.
Every unexcused absence drops grade one full level (from B to C). Excused absences are dened
by school policy.
Instrument and Music
Instrument in good working order with working reeds, valve oil, mouthpiece, neck strap, mutes, etc.
Bring all music to class every day. Each student will have their own folder with personal copies of
music. Section leaders are responsible for distributing new music; go to them rst.
Have a pencil on the stand for every rehearsal. (Keep one in your folder!)
Rehearsal Technique
Actively involved in all facets of rehearsal, obviously trying.
Demonstrates proper playing technique
1. Good posture
2. Proper instrument and hand position
3. NO GUM CHEWING
No talking or other disruptive behavior during rehearsal
Home Practice
Evidence of practice for performance at the Honors level expected
Learning appropriate scales, chords, and music for class (see below Assessments)
Participation in all Scheduled Performances
Illness, death in the family, or religious holiday observance are the only permissible excuses. Unex
cused absence from a performance will result in a maximum grade of C for that quarter
Grading Policy
Grade of A
Grade of B
Grade of C
Grade of D
Grade of F
Meets and exceeds course expectations, assessment audition at the end of each
quarter, independent project each quarter
Meets course expectations, assessment audition at the end of each quarter
Some course expectations not met
Many course expectations not met
Fails to meet any course expectations
The ve course expectations are equally weighted when determining your grade. For those not
choosing the audition option, evaluation will take place as a part of the regular rehearsal process. As6
the basics
sessment auditions will take place during the quarter, (hopefully prior to the concert), after school and
during C, E, F, and G Blocks.
Assessments
Assessment auditions may include:
Scales and arpeggios. (See below).
Chromatic scale over the working range of the instrument
Contrary to
Any section of the band music of the directors choosing
popular rumor, the assessAND/OR
1 - 2 minute excerpt from solo or etude being worked on
ment is not intended as torture device.
outside of class (required to receive an A)
Compared to your wind ensemble-audi Aural skills testing
tion, the assessment is relatively low-key, and
Sight reading
intended as a method for Mr. Leonard to check
This grading policy is not ability biased. All players are
expected to show progress on their instruments. Not all
players are expected to play at the same level but all are
expected to play to their individual ability level.
students progress throughout the year. Overall, the assessment is quick, painless, and
a great one-on-one experience with
the director.
Requirements by Grade
For complete details see Appendix A
9
10
11
12
Freshmen
Sophomores
Juniors
Seniors
Majors, 4 sharps and 4 ats
All Majors (12 scales)
All Majors + Minors, 4 sharps and 4 ats
All Majors + All Minors
*Minors = Harmonic minor scale
**Knowing all scales means knowing them through the range of your instrument AND
arpeggios
For Major and Minor Scales and their Arpeggios
Slur up, tongue down (for trombones, legato up, staccato down)
Scales should be played slowly (no faster than =100). They are intended to show beauty of
sound and intonation (how well you can play in tune with yourself)
Chromatic Scale
Slur up, tongue down
The chromatic scale should be played through the range of the instrument as fast as possible
(meaning as fast as you can play it WELL). The chromatic scale shows the director your technical
facility on the instrument.
7
the basics
Independent Project
Students striving to achieve an A in Wind Ensemble will be required to do an independent project
each quarter. Projects must be completed by the last day of the quarter to receive full credit. Students
must e-mail the project proposal to Mr. Leonard one week prior to the end of each quarter for approval. Be specic in proposals for compositions, arrangements, and music theory projects.
Possible projects may include:
1. Concert Review
Attend a wind or percussion concert (permission may be granted to review a concert outside
the wind/percussion realm) of your choosing and discuss it critically in an essay format. Consider what you liked and didnt like, and give specic examples to corroborate your opinions.
Compare the performance you attended with your perception of the LHS wind ensembles performances. Analyze how the two are alike and/or different.
2. Composer Biography
Select and research a composer (preferably, but not limited to one whose work we have been
playing) and write a biography about him/her. The biography must show a substantial amount
of work and cannot be simply copy-and-pasted from a website.
3. Composition Project
Write an original musical composition or arrangement for a solo instrument or group of instruments. The composition project is intended to show that the student thinks about and pursues
active musical engagement outside the classroom.
4. Music Theory Project
Chose a specic area(s) of music theory that you are interested in studying and develop an
independent study schedule for yourself throughout the quarter. Work with the Practica Musica
software available on the music media lab computers and print an evaluation report (directly
from the software) after completing each section. At the end of the quarter, hand in your evaluation reports to Mr. Leonard.
5. Public Performance Project
Work on a piece and perform it in front of a live audience. Participation in the MICCA Solo &
Ensemble competition in May is highly recommended (will count as your fourth quarter project).
6. Mentorship project
Mentor a student (of your same instrument) in the Symphonic band. This
Papers and
involves working weekly with the student on his/her band music, warm-up
reviews must be
techniques, other etudes, or additional exercises of your choosing
at least 2 full pages,
7. Other pre-approved project of your design
double-spaced.
the basics
Concert Dress
Men
A tuxedo or an approximation of a tuxedo. Black jacket, black trousers, white shirt, black bow tie,
black socks and black shoes.
Women
In the past, we have had issues with how women have dressed for concerts. This is a new year and
we will hopefully not have the problems we have had in the past. The goal of concert dress is to look
professional. By dressing in a uniform, conservative style, we show respect for the music, for our
audience, and we are taken more seriously. The audience should focus on the music, not on your
clothes.
The mandatory attire is as follows:
You should wear all black . . .
Tops, skirts, dresses, and shoes. No navy, dark gray, or other dark colors. We are looking for a formal
look. You should look conservative and a little dressed up.
Bottoms
An ankle-length skirt or black dress is required. This is important because we sit on a stage that is
above the audience. Pants are not acceptable.
Tops
Wear a nice, long-sleeved black button-up blouse. No three-quarter sleeves unless you are so short
that they look full length. We know it can get hot, but remember that the men wear long sleeved dress
shirts and jackets. Natural fabrics, such as cotton, linen and silk, might be cooler than synthetics.
Tank tops are not permitted. Make sure the top is long enough to fully cover you.
There should be absolutely no stomach, cleavage, back, or other unnecessary skin showing. Therefore, make sure that shirts are long enough, bottoms are high enough, and the neckline is modest
enough. Underwear is not outerwear.
Shoes
Wear a black dress shoe. Please be sure that it is a dress shoe, not a sandal, boot, etc. Shoes
should be close-toed and closed heeled. Heels should be two inches or less. Also, be certain that the
entire shoe is black: no cork bottoms, colored designs, or any other dark colors. We suggest neutral,
conservative pantyhose (sheer black). No white or colored socks, even if you think they dont show.
the basics
Dress-Code Addendum
An extra reminder to the dress codeThis was written a few years
back by some wind ensemble ladies:
Ok. Heres the deal. Yes, dress codes are annoying, but they
serve a purpose. Please follow them, because if you dont, you
will stand out, and the group will become less of an ensemble.
Be glad we dont have a required uniform like other bands.
NO short-sleeved shirts. You can get away with threequarter if you really cant deal with long sleeved, but no upper
arms should be visible.
PANTS! Once and for all, here is the deal with pants. DO
NOT WEAR THEM, unless you are actually wearing a full tuxedo, or you have special palazzo pants (the big wide billowy
ones that look like skirts). All other pants are not OK.
Skirts should be at least to the ankleeven if they are
dressy; you really dont want to be sitting on a stage above
people wearing a skirt much shorter than that.
Unless your skirt is long enough to cover your shoes, get
close toe ones. Otherwise the audience can see your
toes. And that is distracting. And out of season.
Past members
have found items at:
www.concertblack.com
Pops Concert
The Pops Concert in May is the only time that the dress rules are different. Men are encouraged to wear colored bow ties and women wear
cocktail length to oor length dresses. Spring colors are encouraged.
(For more information on Pops, see page 22)
Lord & Taylors (not Juniors
section)
Parade Dress
Band members should remember that when in uniform they are representatives of their school and
community. The uniform should be kept clean, pressed and always treated with care. Behavior when
in uniform should reect respect for oneself and the community.
(continued)
10
the basics
Uniform Fit and Care
When tting the uniform, make sure that there is adequate room for several layers of warm clothing
under the coat and pants. Several thin layers of clothing are better than one thick layer. Check the t
of the coat to make sure it will accommodate the necessary instrument playing position. If the pants
are too long, be sure they are hemmed to the proper length.
Each uniform will have a garment bag with a corresponding number. Uniforms, hats, shoes, and
parade music should be kept in these bags. The uniforms should not leave school. We report to the
school before each parade to dress.
11
MFTTPOT
UFBDIJOH
Private Lessons
We cannot stress enough how important the role of the private music teacher is in guiding a young
musician to his or her highest possible level of achievement. We hope you will consider taking advantage of our collection of excellent private instructors.
Instrument lessons are available locally from private institutions as well as here at Lexington High
School through the auspices of Lexington Community Education.
For
information
aboutlist
private
lessons, see
Below
is the current
of instrument
teachers who work with Lexington Community Education. For
more information see http://lhs.lexingtonma.org/Dept/FineArts/music/private_lessons.html
http://lhs.lexingtonma.org/Dept/FineArts/music/private_lessons.html
Linda Bento-Rei
Flute
Ken Jones
Trumpet
Daneille Boudrot
Flute
Richard Waddell
Trumpet
Jessica Lizak
Flute
Ellen Donahue-Saltman French Horn
Kathryn DiCola
Oboe
Dan Fox
Trombone
Brian Kane
Saxophone
Jim Lutz, Jr.
Tuba/Baritone
Jerry Vejmola
Sax, Clarinet
Sandy Prager
Guitar
Nancy Radnofsky
Clarinet
James Lattini
Percussion/Set
Bill Kirkley
Clarinet
Allan Espinosa
Violin/Viola
Greg Gettel
Trumpet
Teaching
Teaching
younger kids is a lot of
fun and a great way to es-
tablish a mentorship program
Being a member of the LHS Honors Wind Ensemble means you have
advanced on your instrument and reached the technical prociency sufcient to give lessons to younger students.
between the high school
and middle school.
At the beginning of the year, Mr. Leonard will ask for the names of those
who are interested in offering their services as private teachers to middle
school music students. Your name will then be passed on to the younger
kids and their parents.
Teaching is paid work (a standard fee set by Lexington Community Education) OR it may be counted
for community service hours.
12
XIPTXIP
JOUIFXJOEFOTFNCMF
Band Presidents
The band co-presidents are responsible for behind-the-scenes work such as getting the music prepared for the wind ensemble, organizing the band room, organizing outside groups (such as pep
band), among other things. Feel free to come to the presidents for whatever problems you may have:
logistics, how-tos, questions pertaining to your music (or biology homework), or whatever else you
wish.
Lina Colucci
Toby Forman
Clarinet
Alto Saxophone
Section Leaders
Section leaders are responsible for music distribution and making sure that all of the members of
their section have the correct parts. They should make sure that all stands and chairs are put away at
the end of rehearsals and assist in keeping all members of their sections at task during rehearsals.
Go to your section leader when
You need a part
Youve lost/forgotten your music
You have questions about the music, ngerings, etc.
Flutes
Kate Woodcome
Double Reeds
Katherine Wang
Clarinets
Dan Shaw
Shelly Yanushpolsky
Saxophone
David Wang
Ethan Ward
Trumpets
Jeremiah Huang
French Horns
All players
Low Brass
Brian Reynolds
Percussion
Dan Garmon
Attendance
Phil Rauscher
Librarian
Sam Walker
13
XIPTXIP
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Oboe
Keith McHugh
Andrew Villanueva
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Brittney Joyce
Louisa Slosar
Katherine Wang
Trombone
Bb Clarinet
Tenor Saxophone
Max Blumenthal
Tim Borjas
Nathan Katz
Nathaniel Durant
Lina Colucci
David Wang
percussion
David Evans
Bass Trombone
Jess Evans
Baritone Saxophone
Michael Krant
Christine Heffernan
Nate Tarrh
Kate Jeong
Ethan
Ward
trombones
Euphonium
Sangho Kim
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Brian Reynolds
Anne Mok
Trumpet
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Daniel
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Ben
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John Cho
Nick Singer
Alex Cohenbasso
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David Fink
Sam Walker
Terry Cullen
Dan Garmon
Tiffany Kim
French Horn
Alto Saxophone
Tom Osborn
Joey Costello
Toby Forman
Dina Tyson
Annie Johnston
Shefali Jain
Yui
Kitayama
Jeff Lin
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Irene Smail
Beth Rutila
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Emma Chung
Molly Keeping
Cindy Lee
Aviva Musicus
Erica Rhodin
Thea Vanderschmidt
Kate Woodcome
Shannon Woods
ets
PERCUSSION
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WHO'S WHO IN THE WIND ENSEMBLE?
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&
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BASS
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FR
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11
17
18
14
14
surviving
a
rehearsal
Tuning Process
Straight-forward tuning
Tuning is a group process. The tuba(s) will play the tuning pitch and each section (from lowest to
highest pitch) will enter and add onto the tubas sound until everyone is playing.
During tuning, keep in mind to (1) always listen down to the tuba for referThe point of
ence pitch, and (2) check in with the rest of your section to ensure that
this exercise is to be
you are all playing with the same tone quality.
in tune with the group as a
Tuning by scales
whole. Using a tuner is bad.
You could be in tune with
yourself, but not with the
rest of the group.
The Wind Ensemble often tunes by playing long tone scales in either
unison or harmony. Doing a scale harmonically means that different instruments start the scale at different times. Group 1 begins, followed
by Group 2, and then Group 3, each separated by thirds. Be careful about balance and blend! If you can hear yourself, chances are you are not in tune. (See below for what to do).
Group 1 low tuba, trombone, euphonium, baritone saxophone, bass clarinet, bassoon
Group 2 middle trumpet, tenor saxophone, French horns, alto saxophone, alto clarinet
Group 3 high Bb clarinets, ute/piccolo, oboe
Am I sharp or at? and what do I do about it?
The goal of a wind ensemble is for all instruments to blend their unique voices into a warm, pleasant,
unison sound. Chances are that if you can hear your individual sound, you are out of tune.
If you are at (below the pitch) PUSH IN
By doing so, you are making your instrument shorter (like a piccolo), and that makes
the pitch go up (think about what a piccolo sounds like).
If you are sharp (above the pitch) PULL OUT
You are making your instrument longer (like a tuba), and that will make you sound
lower (more like a tuba).
If you dont know if youre sharp or at - DO SOMETHING!
If you push in and it gets worsepull out! If you push in and it gets bettercongratulations, you got it right!
15
surviving
a
rehearsal
Transposition of Instruments
Concert Pitch Instruments
ute, oboe, C-trumpet,
mallets, trombone, baritone, euphonium (bass
clef), tuba
no transposition necessary
Bb Instruments
Bb clarinet, Bb bass clarinet, Bb trumpet, soprano/
tenor saxophone, euphonium (treble clef)
transpose UP a WHOLE step
Eb Instruments
alto saxophone, alto clarinet, baritone saxophone
transpose UP a SIXTH
or
transpose DOWN a MINOR THIRD
F Instruments
French horn, English horn
transpose a DOWN a perfect FIFTH
or
transpose UP a major THIRD
Concert
Bb
Eb
A
A# Bb
B
C
C# Db
B
C
C# Db
D
D# Eb
F# Gb
G
G# Ab
A
A# Bb
E
F
F# Gb
G
G# Ab
D
D# Eb
E
F
F# Gb
G
G# Ab
E
F
F# Gb
G
G# Ab
A
A# Bb
B
C
C# Db
D
D# Eb
E
F
A
A# Bb
B
C
C# Db
D
D# Eb
16
just enough
theory
fig. 3
Compound Time Signature
E
F
fig. 3
Every
Good
Bass
Clef (F Clef)
Tells the number of
subdivided beats per
measure
Tells the rhythmic
note value that
receives the F
subdivided beat
Bass Clef (F Clef)
Bass Clef (F Clef)
fig. 3
fig. 2
Treble Clef (G Clef)
Good Boys Do Fine
fig. 1 Always
Bass Clef (F Clef)
The time sig-
E
F
nature 4/4 is so common
that it is often abbreviated as
fig. 2
for common time. And a
with a line through it stands
Treble Clef (G Clef)
for cut time, which is
Compound Time Signature
equal to (2/2).
CommonGPractice Period
Tells the number of
D
fig. 2
Compound Time S
Scales
& Clef
Modes
Treble
(G Clef)
Tells the nu
subdivided
measure
Tells the rh
note value
receives th
subdivided
fig. 7
subdivided beats per
measure
The
practice period was an era from
fig. common
1
Tells the rhythmic
note valuearound
that
1650-1900. Music during this period is largely
receives the
based
subdivided
beat on scales that use only the white keys of a piano.
fig. 7
Each scale has seven modes. Their names can
be remembered with the
G phrase:
The result is seven different scales without accidentals. Each
scale has a different feeling and mood to it. These scales are
known as modes and each have their own Greek name.
Through out history, certain modes were preferred over
fig. 1
others. Two modes were the most common, they were:
Ionian (major scale) and Aeolian (minor scale).
c
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n
lia
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ian
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I Dig Pizza, Lets Make A Lot!
Scale Degree
fig. 4
To remember the names of the lines for treble and bass clef
fig. 4
fig. 7
fig. 7
fig. 4
Bass Clef (F Clef)
Boy Does Fine
B
A
E
G
F Signature
Compound
Time
Time
Signature
fig. 1
Tells the rhythmic
note value that
receives the
subdivided beat
Treble Clef (G Clef)
Tells the number of
subdivided beats per
measure
Treble Clef (G Clef)
fig. 2
Bass Clef (F Clef)
Bass Clef (F Clef)
Treble Clef (G Clef)
The staff has 5 lines and 4 spaces. Each line and space has a different letter (note) name that de
pends on the clef the notes are in.
fig. 4
17
Phrygian
just enough
theory
W
WScale
WMinor
Locrian
W
H
(Aeolian)
fig.17
Dorian
fig.13
fig.W22
Major Scale (Ion
fig.13
Scale: "A" n
Minor
Minor
Scale
(Aeolian)
Dorian
Phrygian
Minor Scale: "A" natural minor scale
Major Scale
W
H
(Ionian)
fig.16
W
H
fig.17
fig.12
Major Scale (Ionian)
Mixolydian
fig.11
fig.15 W
W
fig.11
Phrygian
Locrian
Minor Scale: "A" natural minor scale
fig.12
WH
H
W
W
W
W
W
Minor Scale (Aeolian)
W
W
fig. 22
fig.13
Lydian
HH
W
W
H
H
Mixolydian
W
H
W
W
H
W
fig.17
fig. 22
WW
fig.16
Major Scale (Io
WW
Dorian
Mixolydian
fig.14
Each
of the common modeshas seven scale degrees.
Each degree
hasits own
specic name.
Sharps
3
1
1 3
WH
H W W WW
W
W
Mixolydian
Major Scale
Wfig.16 H
W
W (Ionian)
. 19
6
W 4 WW
5
fig.14
WH
HW
WW W H WW H
Scale Degrees
Scale Degrees
fig. 20
fig. 24
W
H
W
W
Minor Scale (Aeolian)
Minor Scale: "A"
18
fig. 24
e
on
gT
din
W
W
fig.12
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2 4"A" natural minor scale 1
Minor Scale:
1
W
H
n
rto
pe
Su
20
Flats
nic
To
fig.15
1 2 3 4 5 6 7
fig.15
fig.11
fig. 19
HH
Lydian
just enough
theory
Lydian
3
1
4 6
Key Signatures
5 7
fig.14
Sharps
Scale Degrees
In music, the sequence in which sharps
ats appear
in the W
key signature
is always in a specic
Wand W
W
H
H
W
order.
fig. 19
Sharps
Flats
Circle of Fifths
2 4
1
6
Scale Degrees
3 5
7
nic
To
fig.14
fig. 20
4
3 fig. 24
KEYS
Minor2Scale: "A" melodicMINOR
minor scale
D fig. 24
Minor Scale: "A" melodic minor scale
MAJOR KEYS
ic
n
To
ing
ad
Le
t
ian
ed
bm
Su
nt
na
mi
Do
nt
ina
om
bd
Su
n
rto
pe
Su
nic
To
nt
dia
Me
The relationship between major
fig. 19 and minor keys can be summarized
fig. 20 in a chart known as the circle
of fths. As one moves clockwise around the chart, each new key is built on the fth scale degree of
the previous key. Flats
7 "A" harmonic minor scale
Minor
6 Scale:
fig. 24
f
Minor
A 4Scale: "A" harmonic minor scale
C /D
a /b
4d
g /a
75
6
/e 5
6
6
F W/G
fig. 23 fig. 21
4
H
Efig. 23
B/C
19
just enough
fig.14
Sharps
fig.17
Major Scale
(Ionian)
1 3
theory
4
fig. 19
Scale Degrees
4
5
6
7
1
2
3
2 4
1
6 scale: the natural minor scale, the harmonic minor scale, and
There are three variations of theminor
W
Natural Minor Scales
g.12
ne
To
ing
ad
Le
t
ian
ed
bm
Su
nt
na
mi
Do
nt
ina
om
bd
Su
ic
nt
dia
Me
fig.11
n
rto
pe
Su
the melodic minor scale.
nic
To
Minor Scales
Flats
fig. 24
fig. 20
Minor Scale: "A" natural minor scale
6 7
Lydian
Minor Scale: "A" melodic minor scale
n)
Harmonic Minor Scales
W
W
WH
WW
HW
W 22 W
fig.
fig.14
fig. 24
WH
WW
H W
Sharps
To convert a natural
minor scale to a harmonic minor scale, one simply raises the seventh note by a
half step.
1 3
W
fig.16
2
7
minor scaleScale
WMinor
W Scale: "A" 5harmonic
Degrees
Mixolydian
T convert any natural minor
To
scale into a harmonic minor
scale, ra
r is
i e th
t e 7th
t note a
th
half step
fig. 23
ic
3 W5
ne
To
ing
ad
Le
t
ian
ed
bm
Su
nt
na
mi
Do
nt
ina
om
bd
Su
n
rto
pe
Su
nic
To
Melodic Minor Scales
nt
dia
Me
Flats
fig. 19
1
To convert a natural minor scale to a melodicfig.15
minor scale, raise the sixth and seventh
fig. 24 notes by a half
step. Note: Composers fig.
will20usually use melodic minor scales only when ascending. When descending, they prefer to use the natural minor scale.
Minor Scale: "A" melodic minor scale
fig. 24
T convert any natural minor
To
scale into a melodic minor
scale, ra
r is
i e th
t e 6th
t and 7th
th
t
th
notes a half step
20
XIBUFMTF
What else is there in the music department?
To learn about all the other opportunities available in the music department, visit the website http://lhs.
lexingtonma.org/Dept/FineArts/music/music.html. A few of LHSs musical groups are listed below:
Jazz
Football
Ensembles
Band - Volunteer
(990 hours)
Parade
Band Extracurricular
(Community Service/990
4 credits Membership
by audition only
...plus a
lot more!
hours)
Calendar
For a complete calendar of all things musical at LHS, visit http://lhs.lexingtonma.org/Dept/FineArts/
calendar/calendar.html.
21
miscellaneous
Recordings Getting
If the desired recording is on the band computer you have two choices: a)
recordings of the
burn a CD by making a new playlist in iTunes, hitting BURN, and then insertpieces we are playing
ing a blank CD from home. b) Plug your ipod into the computer with your
charging cord (making sure your ipod is disk compatible), and drag the songs can save your life, and
you want into the ipod icon (i.e. where the calendar and games folders are).
its easy to do.
When you get home, repeat the process but by dragging the songs out of your
ipod and onto your desktop
Argh!
(the wind ensemble
slogan)
Practice Rooms
Four practice rooms are available throughout the day for student use. Practice
rooms will generally be locked, so nd a janitor, Mr. Aramati, or Mr. Leonard to
open one for you. After school, practice rooms are usually used for private lessons. You are welcome to
Pirates
the
use any empty one you nd but be prepared
The wind ensemble
to leave if a teacher arrives.
mascot that can be traced
P-word
back to the beginning of time.
No one knows why, but we
all hail to the ags hanging
on the walls of the band
room
( prkts) v. tr. 1 To do or
perform (something) repeatedly in order to acquire or
polish a skill
Watch out for
the right hand door out of
the band room - it never opens
no matter how many times you push
it. Doing so is a dead give away
that you are a freshman (or a
laggard senior)
22
how we
do things
Graduation
The Wind Ensemble plays at LHSs graduation ceremony every year. It has become tradition that
when a graduating wind ensemble senior goes up to receive his/her diploma, his/her respective section plays a little something (a high note, a trill, a small excerpt from band music). When band presidents go up, the entire wind ensemble plays something (either an organized excerpt or simply a lot of
sound).
MICCA Competition
(Massachusetts Instrumental & Choral Conductors Association )
www.miccamusic.org
MICCA is a statewide music festival and LHS is a host to the instrumental portion. Each group in the
festival is evaluated by three judges and the performance is proceeded by a clinic with one of the
judges. Medals are awarded to each group and the gold medal winners have the opportunity to play
at either Symphony Hall in Boston or Mechanics Hall in Worcester.
The MICCA festival starts Friday afternoon and goes through Sunday. LHS students are asked to
volunteer (community service hours are given) during this weekend to help take performing groups
around the school, work as stage crew, etc.
Pops
Pops is a fun, celebratory concert held in the gym at the end of the year. All
the major music groups play and a variety of music is performed. There is
some serious repertoire, but mostly fun things (examples of past repertoire include Disney songs, a Beatles medley, Godzilla Eats Las Vegas
with an accompanying slide show). Dress is less strict than at other concerts. Girls generally wear a formal, prom-like dress. Boys wear a tux and
more colorful bow tie.
Suggestion:
Choose light, breathable fabrics because the
gym gets VERY hot.
Secret Santa
Another Wind Ensemble tradition that happens around December is a gift-swap called Secret Santa.
The band presidents organize a hat with each members name on a piece of paper. A hat is passed
around during rehearsal and each person picks a name from the hat. You then become responsible
for buying your chosen person a little gift (chocolate, something-musical, etc.). Once youve bought
the gift, put it on the white board at the front of the band room and write the persons name on the
board. The ideal time frame for Secret Santa is to get all gifts distributed before winter break.
23
wise words
Get to know
Even though
the people around you, pay
everyone in wind en-
attention when Mr. Leonard talks...
semble is really good at their
keep track of concert dates and DONT
instruments, you shouldnt be too
tell him the day before if you have a
intimidated by them because
major conict. If you do these simple
they are all friendly
things I promise you, you will have
I wish that
the time of you life.
Counting
I had started making
rests diligently is one
friends with the other people in
of the most important
my section and surrounding sec-
things you need to do.
tions sooner in the year because it
makes band more enjoyable
Knowing the
scales really help. Once
Dont let upper
you know them, playing the
classmen scare you too much.
pieces in band becomes easier
Do ask them questions and dont be
as well since you can recognize
afraid to get involved in MICCA or some-
patterns.
Band is a col-
thing else just because you see few people
Play con-
your age. Thats how you meet people. And
dently during
really, getting involved is the best thing
sight reading
you can do.
laborative process if
you have an idea to do something fun or unusual... you want
to conduct, add props or costumes,
make slideshows, or play a specic
piece, dont be afraid to ask!
It can be
If you are
very time-consum-
sincere, have
ing around concert/per-
a good idea, and are
formance times.
persistent, you can see
your ideas come into
being.
24
a final word
Making music is an honor. Making music with
others you care for is a great honor. Doing that
to the very best of your ability is the ultimate
honor. I am very excited to be able to work with
you this year.
Jefferey P. Leonard
Wind Ensemble Director
Within
the walls of
the LHS music
department lie a
tight-knit community and a stage to recreate yourself. The people are wonderful
and the opportunities are many. I leave
you with a quote that has been
said to me many times by
You are never
our wonderful director:
given a dream without
also being given the power
to make it true. You may have to
work for it, however
Richard Bach.
Best of luck everyone,
Lina Colucci
Class of 08
25
appendix A
Scale Requirements
Instrument
Class
Maj Scales & Arp
Har Min & Arp
Chromatic Scale Range
Tempo
Flute
Freshman
C,F,Bb,Eb,Ab,G,D,A,E
None
Low D to High G
Eighths at 120
Sophomore
All
None
Low C to High A
Sixteenths at 80
Junior
All
C,F,G,D,A,E,F#,C#
Low C to High Bb
Sixteenths at 100
Senior
All
All
Low C to High C
Sixteenths at 120
Freshman
C,F,Bb,Eb,Ab,G,D,A,E
None
Low D to High D
Eighths at 120
Sophomore
All
None
Low C to High Eb
Sixteenths at 80
Junior
All
C,F,G,D,A,E,F#,C#
Low Bb to High E
Sixteenths at 100
Senior
All
All
Low Bb to High F
Sixteenths at 120
Freshman
C,F,Bb,Eb,Ab,G,D,A,E
None
Low E to High C
Eighths at 120
Sophomore
All
None
Low E to High D
Sixteenths at 80
Junior
All
C,F,G,D,A,E,F#,C#
Low E to High F
Sixteenths at 100
Senior
All
All
Low E to High G
Sixteenths at 120
Freshman
C,F,Bb,Eb,Ab,G,D,A,E
None
Low E to 4th line E
Eighths at 120
Sophomore
All
None
Low Eb to G top of staff
Sixteenths at 80
Junior
All
C,F,G,D,A,E,F#,C#
Low Eb to High Bb
Sixteenths at 100
Senior
All
All
Low Eb to High C
Sixteenths at 120
Freshman
C,F,Bb,Eb,Ab,G,D,A,E
None
Low D to High D
Eighths at 120
Sophomore
All
None
Low C to High Eb
Sixteenths at 80
Junior
All
C,F,G,D,A,E,F#,C#
Low Bb to High F
Sixteenths at 100
Senior
All
All
Low Bb to High F
Sixteenths at 120
Freshman
C,F,Bb,Eb,Ab,G,D,A,E
None
Low D to D above staff
Eighths at 120
Sophomore
All
None
Low C to F above staff
Sixteenths at 80
Junior
All
C,F,G,D,A,E,F#,C#
Low Bb to Ab above staff
Sixteenths at 100
Senior
All
All
Low Bb to High Bb octave above staff Sixteenths at 120
C,F,Bb,Eb,Ab,G,D,A,E
None
Low G to 4th space E
Eighths at 100
Sophomore
All
None
Low F# to G top of staff
Eighths at 120
Junior
All
C,F,G,D,A,E,F#,C#
Low F# to High C
Sixteenths at 80
Senior
All
All
Low F# to High C
Sixteenths at 100
Freshman
C,F,Bb,Eb,Ab,G,D,A,E
None
Low G to 4th space E
Eighths at 100
Sophomore
All
None
Low E to G top of staff
Eighths at 120
Junior
All
C,F,G,D,A,E,F#,C#
Low C to A above staff
Sixteenths at 80
Senior
All
All
A below low C to High Bb
Sixteenths at 100
Oboe
Clarinet
Bass Clarinet
Saxophones
Bassoon
Trumpet/Baritone Freshman
Horn
26
appendix a
Trombone
Euphonium
Tuba
Percussion
Freshman
C,F,Bb,Eb,Ab,G,D,A,E
None
Low F to D above staff
Eighths at 60
Sophomore
All
None
Low E to F above staff
Eighths at 80
Junior
All
C,F,G,D,A,E,F#,C#
Low E to Ab above staff
Eighths at 100
Senior
All
All
Low E to Bb octave above staff
Eighths at 120
Freshman
C,F,Bb,Eb,Ab,G,D,A,E
None
Low F to D above staff
Eighths at 100
Sophomore
All
None
Low E to F above staff
Eighths at 120
Junior
All
C,F,G,D,A,E,F#,C#
Low E to Ab above staff
Sixteenths at 80
Senior
All
All
Low E to Bb octave above staff
Sixteenths at 100
Freshman
C,F,Bb,Eb,Ab,G,D,A,E
None
Bb below staff to Eb 3rd space
Eighths at 100
Sophomore
All
None
G below staff to G 4th space
Eighths at 120
Junior
All
C,F,G,D,A,E,F#,C#
F octave below staff to Bb above staff Sixteenths at 80
Senior
All
All
F octave below staff to Bb above staff Sixteenths at 100
Freshman
C,F,Bb,Eb,Ab,G,D,A,E
None
Two octaves, alt sticking
Eighths at 120
Sophomore
All
None
Three octaves, alt sticking
Sixteenths at 80
Junior
All
C,F,G,D,A,E,F#,C#
Three octaves, Start both L and R
Sixteenths at 100
Senior
All
All
Three octaves, Start both L and R
Sixteenths at 120
This document was put together in Adobe InDesign CS; gures and images were made using Adobe Illustrator 10; tables
in Microsoft Excel; and text in Microsoft Word. (Lina A. Colucci)
27
28
