INTRODUCTION

Dear Band Students and Parents,

Welcome to our new students; and welcome back to returning students.

You may expect from me a high level of energy, commitment and enthusiasm for excellence in musical performance, and in music education. My goals are simple: to have each of our ensembles perform at the highest level we can achieve, each time we perform, and to have each student learn as much as possible about music and about other important things. I said they were simple--not easy.

I have expectations of my students, as well. Some assumptions: First, that you are intelligent and mature. (I'll treat each individual that way unless they show me otherwise!) That you are capable and talented. That you are in band because you want to be here. That if I can show you the value and the reward, you are willing to work hard for the group.

Please review this manual as a family; this information will help us all to have a productive, enjoyable year together. Please take special note of performance dates--mark these on your calendar now. (Note that this document is subject to corrections and updates.

Your signature on the "Parent-Teacher-Student Agreement" indicates you have read the manual and understand all conditions listed. The student agrees to observe all music room rules and rehearsal procedures, to be responsible for borrowed school instruments, and to be present at all required rehearsals and performances.

If you have any questions or comments about our music program, or if you would just like to chat-- please don't hesitate to contact me. I value your input! And if you EVER feel I am not living up to my commitment in the second paragraph above, I'd like to hear from you.

Please check back regularly for changes!

Musically yours,

Patrick Gross

CALENDARS, SCHEDULES, AND ROSTERS

Week of Dec. 1-5: Holiday Concert
Week of Mar. 9-13:  Spring Concert
Apr. 23-25:  All-Kingdom Band and Choir at Dhahran Academy
Week of May 18-22:  Final Concert, venue TBA
June 6:  High School Graduation

Extra rehearsals (after school/Thu) possible; TBA
Additional performances may be added.
Subject to change.

Patrick Gross

School phone: 330-0555 ext 2344

E-mail:pgross@isgdh.org , patrickmgross@yahoo.com  

GENERAL INFORMATION ABOUT THE PROGRAM

Participation in band provides a vehicle for self-discovery, creative expression, and emotional, spiritual and intellectual growth. In band, students will gain increased aesthetic appreciation and technical understanding of various genres of music, while learning to value ideals of cooperation, self-discipline, and responsibility. Ideally, students will become not only educated and discerning consumers of music, but lifelong participants in ensemble music-making as well.

This is an advanced PERFORMANCE ENSEMBLE class for instrumental musicians in grades 9-12 with three or more years of band experience (or equivalent instrumental performance skills on a band instrument).

High School Band will focus on preparation and performance of contemporary and traditional mature concert band literature. Included in the curriculum are individual and ensemble performance techniques, sight-reading, music vocabulary, and fundamental aspects of music theory and history. Emphasis is on immediate practical application of skills. The group will serve as a talent pool: the most advanced students will also perform as a small Wind Ensemble; other small ensembles may perform according to student interest and ability.

These groups will perform publicly for three major concerts as well as other events throughout the school year.

Prerequisite: Permission of the instructor(s).

Credit: 10 (Course may be repeated for credit: up to 40)

Instructional/Teaching Methods

1. Large ensemble rehearsal

2. Playing tests, written tests and papers

3. Sight-reading practice

4. Performance in concerts, participation in festivals as appropriate, tours

5. Preparation of solo literature, solo and ensemble performances

6. Clinics and workshops

7. Micro-lessons in history and theory

8. Study of appropriate music literature

9. Appropriate use of audio and visual as well as computer technology

10. Student leadership opportunities

11. Small group and individual lessons as needed, by arrangement

Areas of Focus

1. Excellent tone quality

2. Intonation

3. Balance between and within sections

4. Individual technical facility

5. Musical expression: dynamics, articulation, phrasing, interpretation

6. Ensemble skills: precision, blend

7. Surpassing technique to achieve art

8. Individual accountability and responsibility, teamwork, "esprit de corps"

Assessment

Authentic assessment for a performance ensemble occurs during public performances. The groups will perform extensively for the school and greater community. In addition, students are assessed regularly during class, both formally and informally, and receive regular feedback. Refer to GRADING POLICY below for more specifics.

POLICIES AND RULES

If you study hard, work diligently and apply yourself in a regular academic subject like history or math, your success, your learning and your grade are your well-earned and well-deserved rewards. If you miss class, fail to do your homework, or fail to concentrate and work, your grade is likely to suffer. If you do poorly, the consequences are your responsibility.

In a music ensemble, by definition, we SHARE responsibility, rewards, and consequences. (The word "ensemble" means "together".) If you miss rehearsal, we all feel and hear your absence. If you miss a performance, the audience misses your performance. If you fail to practice your part and make mistakes, OUR WHOLE GROUP sounds wrong. When everyone does his or her part, we succeed, together. We excel, together.

Because the success of the band depends on EACH member's contribution, ATTENDANCE IS REQUIRED AT ALL REHEARSALS AND PERFORMANCES.

Under special circumstances (illness, or conflict with other scheduled school events) and at the discretion of the director, certain absences may be excused. In any case, you must notify the director IN WRITING, at least ONE FULL WEEK before the scheduled event (illness excepted).

Accepted attire for concert performances is a WHITE shirt or blouse with collar, BLACK skirt or trousers, and black dress shoes. Neither jeans nor tennis shoes are acceptable. Shirts are to be tucked in.

You will be specifically notified if other attire is to be worn.

Performance ensemble grades are based on:

1/3 - REHEARSAL SKILLS (attitude, effort, following procedures as instructed, TIMELY ATTENDANCE*).

1/3 - EVALUATIONS (playing tests, home practice, written assignments and exams).

1/3 - PERFORMANCE (shared grade from our public performances - an unexcused absence equals an F in this category--resulting in a MAXIMUM quarter grade of D).

*You are considered "present" when you are in your seat, with your assembled instrument, your music arranged in rehearsal order, and a pencil on your music stand at the appointed time for the beginning of class ACCORDING TO THE BAND ROOM CLOCK.

REHEARSAL ROOM RULES:

1. No food, drinks, or gum during rehearsal.

2. Care for your equipment.

3. Respect the property of others.

4. Keep the room neat and clean.

5. Treat each other with courtesy and respect.

These rules and procedures are subject to update and amendment by consensus of the ensemble membership!

REFERENCE / TIPS FOR MUSICIANS

Woodwinds

Brasses

Percussion

All

Purchasing Your Own Instrument

Students are encouraged to consider purchasing their own instruments. Consult with your band director for advice before making a purchase.

School Instruments

The school has a fine inventory of quality instruments. You may be assigned a school instrument. You may not use or take home any instrument until you have filed a signed INSTRUMENT CHECK OUT FORM; the form must be signed by student, parent, and band director. You are responsible for the instrument until you have officially checked it in (usually you will check out an instrument at the beginning of the year and check it in at the end of the year).

Students are responsible for maintenance and care of borrowed school instruments, as well as repair of any damage. If you have any problem with your instrument, see your band director immediately.

You are assigned an instrument storage "cubby," which will be clearly labeled, in the band room. You will store your instrument and music there when it is not in use. You are expected to bring your instrument home to practice.

Left your instrument at home?

Tell your band director at the beginning of rehearsal. We can probably issue you a "loaner" for the day. Using someone else's instrument, with or without permission, is not allowed.

Sheet music is expensive, and in the case of out-of-print pieces, often impossible to replace. You will be financially responsible for lost or damaged music.

You must never mark on you music in pen, but it is IMPORTANT that you DO mark on you music in pencil. Professional musicians write all over their music to help them play better. You will be asked to mark your music during rehearsals, so always have a pencil ready!

Terms connected with tempo (speed or pace)

grave, serious, grave, very slow

lento, slow

largo, broad, slow

larghetto, rather broadly

adagio, leisurely, usually quite slow

andante, easy-going, literally "at a walking pace"

andantino, slightly faster than andante

moderato, moderately

vivace, full of life

presto, very fast

prestissimo, as fast as possible

M.M. metronome marking in beats per minute (Maelzel's metronome, it stands for)

120 American March Tempo

108 British March Tempo

Terms marking a change of tempo:

accelerando [accel.] , getting quicker

stretto or stringendo [string.], hurrying

allargando [allarg.], broadening

rallentando [rall.], ritardando [rit.], gradually slowing down (rall. usu. means more)

ritenuto [rit., riten.], held back

meno mosso, less movement, slower

piu mosso, more movement, quicker

a tempo, tempo primo, return to the original speed

Terms connected with dynamics:

pianissimo [pp], very soft (think: hear others much more than yourself)

piano [p], soft (hear others more than yourself)

mezzo-piano [mp], medium soft (hear others a little more than yourself)

mezzo-forte [mf], medium loud (hear yourself and others equally)

forte [f], loud (hear yourself a little more than others)

fortissimo [ff], very loud (hear yourself more than others, but musically!)

Another way to think of dynamics: ff is as loud as you can play, controlled, musically, with good tone quality, balance and intonation in the ensemble. f is half as loud; mf is half as loud as that; mp is half as loud as that, etc.

crescenco [cres.] getting louder

decrescendo [decres.], diminuendo [dim.], getting softer

sforzando [sfz, fz, ffz, sf], suddenly loud

Terms connected with style, mood, and expression

ad libitum [ad.lib] "at liberty" to be performed freely.

agitato, agitated

animato, animated, lively

appassionato [appass.], passionately

ben, well (ben marcato, well marked)

cantabile [cant.] singingly, in a singing style

con, with (con moto, with motion, con brio, with vigor, con fuoco, with fire, con spirito, with spirit)

deciso, with decision, firmly

divisi [div.] divided unisono [unis.] together; cancels divisi

dolce [dol.], sweetly

doloroso, sorrowful

energico, with energy

espressivo [esp., espress.] expressively

giocoso, a joke, playful, humorous

giusto, exact

glissando [gliss.] sliding

grazioso, gracefully

legato [leg.] smoothly

leggiero [legg.], lightly

maestoso, majestically

marcato [marc.], marked, separated

mezza voce [m.v.], half voice

mesto, sad

pesante, heavily (like a peasant)

risoluto, resolutely

scherzando, jokingly, playfully

semplice, simply

sempre, always

sensiblile, sensitive

senza, without

simile [sim.] similarly, in the same way

smorzando [smorz.], dying away

sordino [sord.], mute con sordini with mutes

sostenuto [sost.] sustained

sotoo voce, ‘under the voice' an undertone

staccato, short, detached

tacet, silent

tenuto [ten.] held, hold

tranquillo, tranquil

tutti, everybody

unisono [unis.], unison

vivo, lively

"Roadmap" terms

: : Repeat signs.

Coda, "tail" or ending section. P is the marking to skip to the coda.

D.C. (Da Capo), Repeat "from the beginning."

D.S. (Dal Segno), Repeat "from the sign" % ( (a decorated letter "s")

Fine, "End" D.C. al Fine, repeat "from the beginning" then end at the word "Fine."

D.S. al Coda, Repeat from the sign, and at P skip to the coda.

Symbols, articulations, abbreviations you will see in music

8va -------, play an octave higher or lower than written (avoids excessive ledger lines)

tie (when notes are of the same pitch) or slur (when notes are different pitches); connect the durations, or play very smoothly (no tongue)

. staccato, short and light

__ tenuto, long, connected; notes held for maximum value

> accent, hit harder, and put more space between notes

v strong accent, even more

U, fermata, hold until the director signals the next beat, or a cut-off

tr.m trill, a rapid alternation between the pitch notated and the upper neighbor.

Transpositions

Instrument	Sounds	Play your "C", we HEAR	Tuning Note (Bb)
piccolo	octave higher than written	C an octave higher	Bb
clarinet (Bb)	whole step lower than written	Bb	C
soprano sax (Bb)	whole step lower than written	D	C
alto sax (Eb)	major sixth lower than written	Eb	G
tenor sax (Bb)	major ninth lower than written	Bb	C
bari sax (Eb)	octave plus a sixth lower than written	Eb	G
horn (F)*	fifth lower than written	F	F
trumpet/cornet (Bb)*	whole step lower than written	Bb	C

*if your part says "horn in Eb" or "trumpet in C" or anything other than your normal tramsposition, you need a different horn, or you need to mentally or physically transpose your part. Check with your director

Regular home practice is expected of all band students. Beginners should practice a minimum of 15-20 minutes each day, and Concert and Wind Ensemble students should practice a minimum 30-45 minutes each day. Serious players will practice more! It is OK to miss a day once in a while, but, like brushing your teeth, practice should be a habit.

Students should have a quiet, well-lit place to practice. A music stand is an inexpensive, but important practice aid.

Parents can provide encouragement, motivation, and support.

If practicing at home is impractical, work use of the school practice rooms into your daily schedule.

Suggested Practice Routine

1) Warm up / embouchure exercises / long tones / perc: rudiments (5-10 min)

2) Technique study: etudes and scales (10-15 min)

3) Band music: isolate and drill trouble spots. REPEAT! (10-15 min)

4) Solo or show piece (fun music) (5-10 min)

SUPPORT! PLAY WITH GOOD TONE, ALWAYS. AIR!

STUDY AND ANALYZE RHYTHMS FIRST. SING--FINGER--PLAY!

BRASSES: SING AND BUZZ!

SLOW AND ACCURATE FIRST, THEN SPEED UP!

NOT: Practice makes perfect, but: PERFECT PRACTICE MAKES PERFECT!

ENSEMBLE SKILLS

You will learn about these--what the words mean to a musician, and how to achieve them:

We are interested in forming a student-led pep band to support our sports teams in competition. See Mr. Gross if you have a lot of spirit and this sounds like fun to you!

Additionally, there will be opportunities for combining with British School ensembles, and possibly opportunities in musical theater. We'll keep you posted.

The quickest and surest way to grow as a musician is to perform as a soloist or in a small (one player per part) ensemble. Opportunities to do so will be announced periodically. Take advantage!

Private lessons can make a big difference in your motivation, musical growth and success. Please see me if you have information about private teachers in the Kingdom.

We have one! Check it out on http://Grolsons.tripod.com/da/

'BAND NOTES' will appear as a link on our WWW page.

We are always grateful for photographs of our students practicing, performing, at concerts, on tour, even relaxing at home. We would like to decorate our music room walls! Consider getting double prints of your concert photos, and sharing the second set with us. If you have digital images, perhaps we could publish them on our website.

THE IMPORTANT STUFF…BEYOND MUSIC!

When someone asks me, "Where do you work?" My answer is, "I teach." The answer "I work at the International School," doesn't adequately describe what I do or why. Inevitably then comes the question, "What do you teach?" My mind reels with the complexity and depth of the answer I'd like to give. I want to say:

"I teach positive values. I teach cooperation--the ability to work as a member of a group or team towards a common goal. I teach that hard work pays off, that the sum of the parts is greater than the whole, and that the individual is important and responsible.

"I teach of art, of what makes humans different than animals or machines. I teach joy, rapture and beauty. I teach that tingly feeling that runs up and down your spine when everything goes just right, and you know the hard work was worth it.

"I teach a basic subject, knowledge of which is necessary to be fully literate. I teach a language that transcends human differences. I teach a deeper level of communication, by which people of different cultures, with opposing beliefs and different native languages can share ideas and emotions. Why, an American can sit down with a group of men and women from Russia, China, Japan and Europe to interpret the ideas an Austrian penned more than 100 years ago. And the result is breath-taking and awe-inspiring. Amazing!

"My subject is sometimes viewed as a frill, an extra. It is considered nice, but expendable. There are those who say, 'Let the schools teach my children the skills they need to earn a living. Art, literature, music, these are superfluous. Art, literature, music, I concede, are not skills necessary for living. They are reasons for living!

"And even beyond music's intrinsic value, consider these facts: 67 studies link arts education with achievement in academic subjects. Howard Gardner defines music as one of the multiple intelligences. Both Thomas Jefferson and Albert Einstein played the violin. The undergraduate major with the highest acceptance rate to medical schools (significantly higher than biochemistry) is: music. Truly, music belongs in our schools and in our lives!"

All these things run through my mind, but I would be labeled a fanatic, a raving lunatic, or at the very least a bit rude if I answered like that. So I say, "Why, I teach music." They say, "You must have a lot of patience...I'll bet it's very rewarding, though."

I reply, "Yes, it is." And I mean it. Students, thank you for being my reward. I am privileged to teach you, to learn from you, and to make music with you!

Attitude is the way you think. Your attitude is something other people can actually see. They can hear it in your voice, see it in the way you move, feel it when they are with you. Your attitude expresses itself in everything you do, all the time, wherever you are.

Positive attitudes always invite positive results. Negative attitudes always invite negative results.

Attitude makes a difference every hour, every day, in everything that you do for your entire life. What you get out of each thing you do will equal the attitude you have when you do it.

Anything that you do with a positive attitude will work for you. Anything that you do with a negative attitude will work against you.

If you have a positive attitude, you are looking for ways to solve the problems that you can solve, and you are letting go of things over which you have no control.

You can develop a positive attitude by emphasizing the good, by being tough minded, and by refusing defeat.

Imagine there is a bank that credits your account each morning with $86,400.

It carries no balance from day to day. Every evening the bank deletes whatever part of the balance you failed to use during the day.

What would you do? Draw out every cent, of course!

Each of us has such a bank. It's name is TIME. Every morning, it credits you with 86,400 seconds. Every night, it writes off as lost, whatever of this you have failed to invest to good purpose.

It carries over no balance. It allows no overdraft. Each day it opens a new account for you. Each night it burns the remains of the day. Invest it so as to get from it the utmost in health, happiness, and success!

If you fail to use the day's deposits, the loss is yours. There is no going back. There is no drawing against the "tomorrow." You must live in the present on today's deposits.

The clock is running. Make the most of today.

To realize the value of ONE YEAR, ask a student who failed a grade.

To realize the value of ONE MONTH, ask a mother who gave birth to a premature baby.

To realize the value of ONE WEEK, ask the editor of a weekly newspaper.

To realize the value of ONE HOUR, ask the lovers who are waiting to meet.

To realize the value of ONE MINUTE, ask a person who missed the train.

To realize the value of ONE SECOND, ask a person who just avoided an accident.

To realize the value of ONE MILLISECOND, ask the person who won a silver medal in the Olympics.

Treasure every moment because you shared it with someone special, special enough to spend your time. And remember that time waits for no one.

Yesterday is history. Tomorrow is mystery. Today is a precious gift. And that's why it's called THE PRESENT!

You arx important! Xvxn though this is an old computxr, it works quitx wxll xxcxpt for onx of thx kxys. Wx'vx wishxd many timxs that it workxd pxrfxctly. Trux, all the kxys xxcxpt onx work pxrfxctly, but just onx kxy not working makxsthx diffxrxncx. Somxtimxs, it sxxms to us that any group or txam or businxss is likx our computxr--not all thx kxy pxoplx arx working propxrly. You may say, "Wxll, I'm only onx pxrson. It won't makx much diffxrxncx." But for your group or txam or businxss, to bx xfficixnt, it nxxds thx activx participation of xvxry pxrson. Thx nxxt timx you think your xfforts arxn't nxxdxd, rxmxmbxr our computxr, and say to yoursxlf, "I'm a kxy pxrson and I'm nxxdxd vxry much." You arx important!

"You miss 100% of the shots you don't take." -Wayne Gretsky

FEAR = Fantasized Experiences Appearing Real (or)

False Evidence Assumed Real.

NOT: Forget Everything And Run!

SEEK JOY IN MUSIC RATHER THAN FUN.

FUN IS FLEETING. JOY IS EVERLASTING!

"If you think you can do a thing or think you can't do a thing, you're right." -Henry Ford

"You're about as happy as you make up your mind to be." -Abraham Lincoln

"Things work out best for those who make the best of the way things work out."

"The dictionary is the only place where success comes before work."

"Persistence prevails when all else fails."

"Winners make a habit of doing the things that losers are uncomfortable doing."

The ten most powerful two letter words in the English language: "If it is to be, it is up to me."

"It's a funny thing about life; if you refuse to accept anything but the best, you very often get it." -W. Somerset Maugham

"It's not that people plan to fail, it's that they fail to plan."

"You can observe a lot just by watching." -Yogi Berra

"Maturity is the realization that the volume know turns to the left as well as to the right."

"It's all right to have butterflies in your stomach. Just get them to fly in formation." -Dr. Rob Gilbert

"Opportunity always involves some risk. You can't steal second base and keep your foot on first."

"A problem is a chance for you to do your best." -Duke Ellington

"Gemstones cannot be polished without friction, and people cannot be made perfect without trials." -Chinese Proverb

"Less me and more we."

"T.E.A.M. = Together Everyone Achieves More."

"There is no "I" in team."

"If everyone is moving forward together, then the success takes care of itself."

"There is no limit to what can be accomplished if it doesn't matter who gets the credit."

"Take care of each other, share your energies with the group, no one must feel alone, cut off, for that is when you do not make it" -Willie Unsoeld, famous mountain climber, on making it to the top.

"To have joy, you must share it. Happiness was born a twin." -Hopi Indian