Wright State University Wright State University

Copyright Permission Musician’s Guide

Music Educators are granted to Practicing
permission to make copies of this
pamphlet to distribute to music
students in their own school music
program.

Shelley M. Jagow
Associate Professor of Music
Wright State University
College of Liberal Arts
Department of Music; CAC – M153
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3640 Colonel Glenn Hwy.

Dayton, OH 45435 School Name: ___________________
[email protected]
Phone: (937) 775-2178 Student: _______________________
Fax: (937) 775-3786
http://www.wright.edu
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Musical Recipe for Success: The Tortoise and the Hare

A Beginner’s Practice Plan
If you believed that more was better, then you may be someone
You need to practice 30 minutes every day. who also believes that faster is better. However, some of the
Here is a great recipe to make you into a good musician. worst clarity problems occur from players who like to practice
everything in 5th gear! It is simple to spot someone who
Prepare beforehand: practices only in high gear. When asked to play a passage at
 a quiet room for yourself half the tempo, they simply cannot do it. Fingers run together,
 a music stand articulations run amuck, and the resulting sound is muddy. Of
 a comfortable chair without arms course, this type of player will adamantly profess that they can
play it, but just not that slow. This is a myth. If a passage
Add: cannot be performed with control and musicianship at a slow
 1 minute of long tones tempo, then it is impossible that it is performed with control
 2 minutes of lip slurs/octave slurs and musicianship at a faster tempo.
 5 minutes of scales with various articulations and dynamics
 5 minutes of sight reading A good practice habit is to perform more challenging technical
 12 minutes of band method music and assignments passages at three different tempos using the paper-clip method
 5 minutes of active listening to recordings suggested by your on each of the three tempos. The first tempo should be
teacher approximately 10 – 20 metronome clicks under the actual
marked tempo. The second tempo should be approximately 5 –
Stir in: 10 clicks under the marked tempo, and the third tempo is the
 good posture actual marked tempo. (Sometimes, it is beneficial to add a
 good embouchure fourth tempo that is just a few clicks faster than the marked
 full, controlled breath support tempo. You will then feel more comfortable and in control
 concentration! (A concentrated and focused practice for 15 when returning to the marked tempo.) For example, if a piece
minutes is better than a distracted practice for 30 minutes.) was marked at quarter note = 120, then a practice routine may
look as follows:
Bake at 365 days a year.
Serves enjoyment and self-esteem for a lifetime! Tempo 1 quarter note = 100
Tempo 2 quarter note = 110
Tempo 3 quarter note = 120 * Target Tempo
rd
By your 3 year of playing, you should Tempo 4 quarter note = 126
increase the practice time to 1 hour

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daily.
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When practicing a passage slowly, use the

The inside of your mouth must feel open all the time. increased time to open your auditory
All sound resonates from here. sense and listen to the quality of your tone
and the nuance of the musical line.
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Practice Routine for

Paper-Clip Method Intermediate - Advanced Players
It has been said that Mozart’s father had him use ten peas every The Warm-Up ………………15 → 30 minutes
time he practiced his piano. The peas served as a method to
Warm-Up = 50% physical + 50% mental
record keeping of quality practice. You can use five paper clips
for your record keeping. The paper clips can be easily stored The purpose of the warm-up is to prepare yourself both
and can be clipped onto a music stand and slid easily from side physically and mentally. Warm-up exercises can be routine and
to side similar to an old counting abacus. dull if you do not have a defined objective intended. The warm-
up must be treated as a performance - - with passion,
Here is how the Paper-Clip Method works. Fasten the paper motivation, and purpose.
clips to the left hand side of the music stand. Instead of
The physical aspects of the warm-up should awaken and
practicing your music from beginning to end, isolate particular
prepare the aural sensory muscles to assemble sounds into
problem areas in your music. Once a problem area has been
musical meaning. In addition, all muscles directly related to
defined, practice the section until you can perform the passage
instrumental kinesthetic function must be stimulated in order to
correctly five times in a row (or ten times if you choose to use
arouse the player’s fine motor skills necessary for the
ten paper clips). Each time the passage is performed correctly,
remainder of the practice session.
you can slide one of the paper clips to the right hand side of the
music stand. If on the fourth time through a passage an error is Components of the Warm-Up:
made, then all of the paper clips are positioned back on the left
side of the stand in order to start over at number one again. Long Tones
Once you have correctly performed the passage five times in a By playing sustained tones in various progressions, the player
row, you may then proceed to the next isolated area. is able to physically prepare their embouchure. Long tones
further stimulate the cardiovascular system for the physical
The method works because it trains you to perform a passage endurance of performing on a wind instrument. Mental
more times correctly than incorrectly. If you didn’t start over at preparation during long tone activities include heightening your
number one each time an error was made, then essentially you aural awareness to hear the center of a full tone, and accurately
are kinesthetically training yourself to perform the passage just perform correct pitch with and without a tuner.
as many times incorrectly.
Flexibility through Facility Exercises
In order to ready the fingers, embouchure, and air stream to the
constructs of operating the musical instrument, the employment
of technical exercises is crucial to the warm-up process.

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Facility exercises may include scales in various patterns,
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arpeggios, published etudes, and the like.

Make every attempt to practice at the same time every

day. Protect this time as your time and do not allow
yourself to be disturbed. Take a 2-minute break about
every 20 - 30 minutes.
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Correlation Factor
Whenever possible, consider the connection or correlation if relating
the warm-up to rehearsal material. For example, if your rehearsal More is better, right?
goal were to clarify the dotted-eighth – sixteenth rhythm, then it
would be prudent to incorporate this rhythm into such exercises as
scales. It is not essential that every aspect of the warm-up routine be Wrong! More is not better. The compounding effect of a
related to the rehearsal goals, but it is wise to structure a portion of quality practice session is much more beneficial than simply
exercises to rehearsal objectives. amassing hours. A focused practice for 30 minutes is greater
than mindless repetition for one hour.
Remember to keep your body and muscles relaxed so that you
are always able to take a full, deep breath to fuel your sound. Practicing your instrument is not a simple, habitual pattern that
one follows in order to accumulate knowledge. Learning is not
the collection of information to be stored on a shelf, but rather,
Etudes …………………………….10 → 25 minutes learning is the collection of knowledge and experience that can
be employed to improve playing skills. A good practice session
It is crucial that various style-studies/etudes become a regular part of should free the mind and body of old, cumbersome habits and
the practice routine so that you can learn musical styles and their open new doors that encompass music as a whole. The ultimate
relationships. By means of performing style studies and etudes, you goal of quality practicing is to reach a level where proficient
will be better equipped to emotionally respond with musical skills are pooled into the whole of musical expression.
relevancy. There are several published etude materials available for
your instrument. (Ask your music director for assistance in selecting A player must learn to unleash poor practice habits and
such materials.) understand that every session is an opportunity to further
develop the skills to gain ease of performance. Sometimes it
may mean letting go of techniques that you believe are working
Solo & Band Repertoire ………30 → 60 minutes for you, but may rather be hindering your playing. Maintain an
open mind and do not be afraid to try new ways of approaching
In addition to learning your wind band repertoire, time must be
concepts and techniques in your practice routine.
invested in learning solo repertoire. You could select a piece from
the OMEA list or ask your music instructor for assistance. Try to
An interesting, related story is of an individual who went to
find performance opportunities for your solo such as at school,
have tea with a Zen master. As the master poured tea into the
church, and community events, and family gatherings.
visitor’s cup, he continued to pour even after the cup was
spilling over. The visitor exclaimed, “The cup is full; it can
hold no more.” The Zen master replied, “Yes, but you came to
Sight Reading …………………………5 minutes me with your cup already full. How can I teach you anything
unless you first empty your cup?”

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Use sight-reading as part of your “warm-down”. Every practice
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session should conclude with reading a short piece or a few measures

from a lengthier work. If you practice the same time as a friend, get
together to sight-read duets. Before you begin to play the selection,
take a minute to look over the piece for meter, tempo, key, rhythms,
terminology, etc. Then play the piece from beginning to end without
stopping to correct any errors. Play the selection again and improve
upon any errors. You will find your reading skills improve greatly!
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More Practice Tips

Practicing Musicianship
Yes, you guessed it; there is also a magic tool for practicing Priority Pyramid
musicianship. Your parents may call it an LP, your grandparents Tonal production and quality of sound should be the first
may call it an 8-Track, but today we call it a CD, mp3 etc. priority in every practice session. A passage performed
Purchase quality audio recordings of instrumental artists and technically perfect means nothing if the tonal quality is
ensembles, and then listen – listen – listen, and then listen some substandard. Use the following diagram as a guide to
more. Many quality recordings are available at a very affordable prioritizing concepts within your practice routine.
cost, and you can listen for free via your local public radio station
that programs classical music. If you own a computer, you can
locate many quality channels online that stream real audio right to Concept Pyramid Materials Pyramid
your home.
Tempo Solos

Be present in whatever you do. Be fully Technique EEtudes

engaged in activities with heart, mind, and body.
Tone Quality Tonal Studies and Scales

Listen to good music every available moment you have. Not only
should you own a quality recording of your own instrument, but
you should also listen to other instruments, vocalists, chamber Practice Journal
ensembles, and large ensembles. If you are unsure where to start, A practice diary can also be useful for any age of musician.
ask your music director to provide guidance towards purchasing Sometimes it is easier to have an instructor tell you what you
quality recordings. Without guidance, you could be listening to are doing well and what needs to be improved. However,
poor recordings that provide very little musical value. some of the best learning happens in the practice room when
we develop the musical maturity to tell ourselves what needs
Recordings provide one of the best methods for absorbing to be done. Learn to be your own best critic.
musicianship as we listen to great artists bring music to life as they
shape musical lines, shade nuances, caress phrases, and awaken Recording thoughts and progress in a practice journal can be
dynamics. If you desire to be the best musician you can be, then constructive to the performance assessment process.
you must surround your ears with the best! Throughout every step of a practice routine, a player should
always be asking such questions as: Do I like how I sound?
Was that passage clean? Am I playing accurate pitches? How

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can I make this phrase more musical? Etc.

You become what you believe Tape record practices whenever you can. Listen to the tape
you can be. Trust and respect with a critical ear and make notes of things you want to
your ability and self-worth. improve upon. Divide your list into short-term and long-
term goals.
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Makes Sense? Practicing Accuracy

We all know that we have five main senses: taste, touch, smell, Here are two secret tools that may change your life forever.
hearing, and sight. Yet, did you know that when your eyes are in Are you ready for this? Okay, here it is, presenting to you
use, the other senses are functioning at a mere 20%? Therefore, the (insert drum roll here) ----- the metronome and the tuner.
more you focus on notation and the mechanics of your instrument, Yes, there you have it folks, not such a big secret after all, yet
the less you are listening to the quality of your sound. they still remain two tools that are either defectively used or
never used at all.
The less you need to rely on the black and white dots on the page,
the more musical you are able to function with your auditory sense. It does just as much damage to your development by never
Try this. Play a few measures of your music. Now close your eyes using these tools, or ignoring the tools if they are being used.
and hum or sing the passage. Open your eyes. Now silently play the Too many times I have strolled by a practice room and hear a
passage on your instrument, but continue to sing or hum aloud. Do student with a metronome turned on, but it may as well be in
this exercise a few minutes every day and you will find your other the next room for as much as it is being the leader of time.
senses increase in function to assist in your development as a And alas there is the poor, neglected tuner. Many tuners are
musician. (Even if you are performing a repetitive exercise, or dying to be turned on so that they may assist you when you
playing scales, always listen intently to the sound you are are working on long tones to learn the intonation tendencies
producing.) of your instrument.
Being a musician is very similar to that of an athlete. Lung
capacity and air control is so important to playing a wind
Players MUST own and use both a metronome and a tuner.
instrument. Schedule at least 20 minutes of aerobic exercise Learn to become your own best critic in the practice room.
three times a week. Eat a healthy, balanced diet!
Further tips for practicing accuracy include the procedure of
Scales Are Like Vitamins isolating the more difficult passages and then practicing the
passage in varying rhythms, articulations, tempos, etc., before
As much as we may not enjoy eating Brussels sprouts or liver, performing the passage again as printed. Consider alternate
or taking our vitamins, we do know that such things are good fingerings that may assist in ease of facility, and look for
for our health and well-being. And likewise scales are our patterns that may be mentally regrouped to add clarity to the
musical vitamins. Without a thorough knowledge and practical rhythmic subdivisions. One should also take the time in a
performance facility of scales, we are surrendering ourselves practice session to sing the music. Singing the music will
to a poor diet. contribute to greater accuracy of tone and pitch in the wind
performance of the music. Applying a vocal quality to
If you choose to learn only the Concert Bb Scale in your diet, instrumental music influences the musical manifestation of
then you are a malnourished musician. Learn as many scales the composition.

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as possible, and never give in to the misconception that scales

are difficult --- after all, there are only eight notes to learn in
each scale! With difficult rhythms, practice saying
them aloud before playing them.
The Scale Matrix may assist you in recording and tracking
your scale progress. Instead of attempting to learn all scales in If you can say it – you can play it.
a short period of time, the matrix is designed to add scales in a
timely learning sequence.
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Scale Matrix
A Two-Sided Coin: Accuracy and Musicianship Largo Larghetto Andante Moderato Allegro Presto -
- Adagio Prestissimo
Week MM = MM = MM = MM = MM = MM =
We may be in awe at the technical facility of a performer – the
40 - 60 60 - 76 76 - 104 104 - 120 120 - 168 168 - 208
fluid motion of their hands, the ease of runs, and not a single
note missed, BUT we are further inspired by the performer who 1 Bb Bb
displays astute knowledge of musical form and phrase and stirs 2 Eb Eb Bb Bb
our emotions. A musical performance that tends to display 3 F F Eb Eb Bb Bb
more of a machine or technician does nothing for the emotional
4 Ab Ab F F Eb Eb
psyche. On the other hand, a performance that may have minor
flaws but is steaming with excitement and beckons to the soul 5 C C Ab Ab F F
will be a performance of lasting value. 6 Db Db C C Ab Ab
7 G G Db Db C C
A player must choose to develop and excel at both accuracy
8 Gb Gb G G Db Db
and musicianship. An instrumentalist can simply not be musical
without first achieving accuracy of tone, pitch, rhythm, 9 D D Gb Gb G G
articulation and style. On the flip side, an instrumentalist can 10 E E D D Gb Gb
simply not perform with convincing accuracy unless the 11 A A E E D D
technical constructs are presented with mature musicianship.
12 B B A A E E
Both sides of the coin must receive equal practice value. 13 Chromatic Chromatic B B A A
Neither may be sacrificed for the other. Achieve competency of 14 Bb 3rds Bb 3rds Chromatic Chromatic B B
both accuracy and musicianship and you will soon be dancing
15 Eb 3rds Eb 3rds Bb 3rds Bb 3rds Chromatic Chromatic
with your instrument.
16 F 3rds F 3rds Eb 3rds Eb 3rds Bb 3rds Bb 3rds

Note: Vary articulations and dynamics with each scale, and

Make every attempt to practice at the same time practice scales two octaves whenever possible. As you advance,
every day. Protect this time as your time and do you should play every scale extended within the key. Once you
not allow yourself to be disturbed. Take a 2- feel comfortable with performing your major scales, construct
minute break about every 20 - 30 minutes.
other scale matrices to include natural, harmonic, and melodic
minor scales.

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Remember to keep your

body and muscles relaxed Use your “mind’s ear” to
so that you are always able hear every note before you
to take a full, deep breath to play it.
fuel your sound.
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SAXOPHONE INTONATION CHART

Name: _______________________________________ Instrument: _________________________________

Mouthpiece: _____________________ Reed: _______________________________

DATE

(Side
)
+ + + + + + + + - + + - + - +
+ + + + + + + + - + + - + - +
DATE

(Side (Bis) (Side)

)
+ + + + + + + + - + + - + - +
+ + + + + + + + - + + - + - +
DATE
(Side (Bis)
) (Front)

+ + + + + + + + - + + - + - +
+ + + + + + + + - + + - + - +
DATE

(Front)
(Front)

+ + + + + + + + - + + - + - +
+ + + + + + + + - + + - + - +
Insert the number of cents flat (-) or sharp (+) for each note. Intonation Chart constructed by S. Jagow (2004)