Note: Over a period of a few months in early 2008 I had the joy and sadness of sitting down, on several occasions, with Ron MacKay, our respected colleague and friend. The purpose for our conversations was to have Ron share his rich wisdom about making music with students in the band setting. He knew that his health was fragile and that he was being asked to contribute these “Tips from a Pro” so that they could be shared with others working in band classrooms. He was more than determined to do this - his generosity and passion for music making with young people never waned.
As a result of those interviews, I was able to put on paper the thoughts that he shared. In consultation with Laura Mercer and Ken Foote – two of Ron’s close friends and colleagues, it was decided that “Tips from a Pro” might be an appropriate title for the written record of our conversations.
This is the first in a series of “Tips from a Pro” columns that will be included in the NSMEA newsletter. Each column will focus on a question or two that Ron addressed during our conversations (e.g., What tips do you have for working with beginners? What tips do you have re tuning?). I have chosen to leave Ron’s words as he spoke them, without editing or re-phrasing, since I believe that his wisdom, enthusiasm and humour speak most eloquently that way.
Brenda: What tips do you have re tuning?
Ron: “In-tune-ness” is a personal concept. The key is listening – listening is a big word. At the beginning, have the kids play the pitch, sing it (till they can sing it in tune), then play it. Ask them to sound it in their head, sing it, play it (in tune). Start this right at the beginning. Once they can sing it in tune, they can play it in tune. The kids “lock in” the pitch in their heads. I prefer tuning the brasses to B-flat and the woodwinds to A.
Brenda: What tips do you have for tuning chords in the full band?
Ron: The third of the chord is most often the key. Start with the instruments that have the third of the chord. Have them play the root and refer to do-re-mi, sing it, so that they can hear the third. Then have them play it. If there are mistakes (often key signature), suggest that their fingers are doing something wrong. Get them to fix it. Add the root in the bass. This work strengthens their ears.
Brenda: What tips do you have for achieving a well-balanced ensemble?
Ron: Get them to listen [there’s that listen word again].What does their line fit in with?
Ask them to “blend in” with a line that is weaker (perhaps has fewer instruments). The conductor needs to know the orchestration – to know which instruments are playing which lines and to understand the orchestration within the instrument families.
Brenda: What tips do you have for working with beginners?
Ron: If everyone is playing, for example, G out of the method book, get away from the written page. Say “Let’s do something interesting.” Do some rote work (gets them to LISTEN). For example, ask students to play G and then the note lower - F. They’ll say “But we don’t know that note.” Show them the fingerings. Then ask them to play the next lower note - E. Improvise figures using these notes. Show them how to get a chord (some play G, some E).”Wow!”
Listen. The brain starts to think “listen”. It’s always there.
Then go back to the written page. Don’t get off the method book. Make little changes. Sing what you want them to play (maybe a whole note for the final note instead of the quarter that’s on the page). They’ll work to LISTEN IN. It keeps it interesting. You’ve got to get them thinking “listen”. And the look on their face when they get it!!!
You have to be inventive. Keep moving around. But keep using the method book – don’t abandon it.
Encourage the kids – let them know that it takes time.
And develop good practice habits – early!
