| Simple modifications to scales can help your band grow by leaps and bounds! |
One of the things I like to do in rehearsal is experiment with the warm up time. A while back I blogged about how to make your warm up time relevant for students, and today's post is closely related to that. There are plenty of ways to structure a good warm up, but I'm a believer that technique building should be included in there somewhere. I also believe scales are a fundamental building block for musicianship, not only for the music literacy and fluency, but for the technical aspects of playing. So we play scales every day. The problem with scales is that they can be very mundane. Fortunately, it can be remedied by adding in some variety. So, submitted for your consideration, here are a few ways to mix up your scales (both basic and advanced) to make them more interesting, fun (hopefully), and more relevant for students.
Change the Rhythm... or Articulation
This is one of the easiest ways to modify a scale, and also, I think, one of the most relevant ways. And you can do it without sheet music. It's especially useful if there are certain rhythms the band is having a hard time with, or if you want to mix in articulation or style with scales.
Simply explain the rhythm. If you have a place to write it out large enough for everyone to see, that's good as well. I think it helps for them to have a reference, but at the same time they should be focused just as much on listening and lining up the rhythm or matching the articulation across the ensemble.
If you're doing this for the first time, try this: Dotted quarter note - eighth note rhythm on each note, so each note gets two beats. This gives them just enough time to focus on the rhythm while still getting the notes right. Keep in mind in the early stages of variety, they won't be used to it and it might be challenging for them. Eventually they'll know to turn on their brain from the get go and that the warm up is not simply going through the motions. The more that happens, the cooler the things you can do with little effort and work. Of course, if you're addressing weaknesses, you should expect a little more work. You can't go through the motions, after all. That would defeat the whole purpose!
So eventually you can throw a rhythm (or articulation) on the board, count/clap it, then play it with your scales. The better it gets, the more complex the rhythms get. I certainly didn't do this on a daily basis, but multiple times a week was really beneficial, especially once they're pretty good at lining up the usual rhythm.
Want to get more advanced? You can always split into two groups and have them playing the scale with two rhythms at once. If you spend two days on that dotted quarter rhythm you could have Group 1 play the rhythm and Group 2 play straight 8ths, 2 beats per note. Don't be afraid to get creative! It's fun!
Scale in a Round
I haven't personally used it this year, but a lot of bands will play a scale (Bb, usually) in a round to help build listening skills and double as long tones. My band did this on a daily basis with their Bb scale last year, but I think towards the end of this year I might, after having played through scales, pick one (probably the one that relates to one of our rehearsal goals) and play that in a round. Maybe that's Bb, maybe it's F!
This is also a simple modification. And not only does it help to develop tone, balance/blend, but also a little independence as well. Independence is an important skill to develop, especially for younger bands.
Dynamics
Does your band know only the Bb Scale? Great. Play it forte, then mf, then p, and keep the quality consistent. There's some valuable practice.
My favorite thing at the moment is to simply add a crescendo up to the top note. This group hasn't had much training in how to shape phrases, and they've had a tough time just understanding that they can and should add their own shaping to the music. As a starting point I'm trying to use this exercise to help them get in the habit of crescendoing up to the highest note. Granted, that's not always the best option in music, but like I said, it's a starting point.
Focus on Watching
An old trick but a good one. Do you feel like your band isn't doing a good enough job of watching you during those critical transition spots? No sensitivity to dynamics in your conducting? Have them play every note as a quarter note and change your conducting every time. You can also do this if you're playing a scale in a round. Use rubato, especially as you're approaching and leaving the tonic. Change the size of your pattern. Accent certain notes. Staccato others. Every day can be different. If you're wanting to make your band more sensitive to your conducting, this is a great way to do it. Of course, you should probably be confident that your conducting in the music is communicating enough important/helpful information that it's worth their effort to move their eyes from the security of the page!
Scales in Harmony
If you have at least two scales, you can do this. Split the band in groups and have them play different scales. For example, let's say they know Bb and Eb. Well, that's a 5th/4th. Now in addition to pulse/alignment and whatever else, you can work on balance/blend/intonation. Plus, it just sounds really cool. It's a very different way aurally speaking to launch into your rehearsal. They might be confused at first, but don't worry, they'll get it. It won't take long. And when they do, they'll love it.
Then have them switch to the other scale. You're still playing the same number of scales and everyone gets to play all of your scales.
For example, right now we've got F-Bb-Eb and Ab. I had Group 1 start on F, and Group 2 start on Bb, then play 3 scales and stop. Then we switched, and did it again. We spent a little more time on scales, but everyone had at least one shot at Ab.
Get Creative... It's Worth the Risk!
I'm sure by now you're seeing that there are a ton of ways to use scales. Once you know them and they can play them well, change it up to address ensemble skills, technical challenges, and things they'll see in their music (especially in the early stages of learning a new piece). I've heard all kinds of things. When my group gets to a certain point I want us to be able to play just ascending scales, just descending scales, split into 2 groups and have them play in counterpoint. If I can eventually get them to know all 12 major scales we can then play scales in chords (3+ groups). The possibilities are great for those willing to put in some thought and take the risk!
I hope this was helpful, or at least interesting. If you've been around then I'm sure this idea is nothing new to you, but I've seen so few people actually try it. It really does work! I'm positive that this has been one of the things that has helped transform my band this year. I understand middle school directors who avoid variety in the warm up (no criticism, in other words), but any HS band that knows at least one scale can do at least some of these things.
Do you have any questions about the techniques? Have you tried some things with scales that I left out? I'd love to hear them, so please share in the comment section!
Thank you for reading, and until next time, take care!
Musically yours,
Mr. Cooper
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