Youngstown State University

Dana School of Music

November 20-22, 2008

The ART of Instrumental Music

for
The Creative Director
A new dimension in teaching... thinking... practicing... and playing an instrument !

Edward S. Lisk, Clinician

Oswego, New York

“What is best in music is not found

in the notes.”
Gustav Mahler

Part 1: "The Mastery of Music Fundamentals"

"The notes of a composition do not exist in isolation; the movement of harmonic progressions, melodic contours and
expressive colorations provide each interval with a specific sense of belonging and/or direction.".....Pablo Casals

Part 2: "The Mysterious World of In-Tune Playing"

“Composers utilize the overtone series as part of their harmonic language. If the music is performed out of tune or
misunderstood, then the overtone series is destroyed, and the composer's intentions are not fulfilled.".....Robert Jager, Composer

Part 3: "Beyond the Page"

“The written note is like a strait jacket, whereas music, like life itself, is constant movement, continuous spontaneity,
free from any restrictions... There are so many excellent instrumentalists who are completely obsessed by the printed
note, whereas it has a very limited power to express what the music actually means.”.....Pablo Casals
 "What is best in music is not found in the notes."
Gustave Mahler

"We are becoming slaves of little marks on a piece of white paper which we call music."
Leopold Stokowski

"The written note is like a strait jacket, whereas music, like life itself, is constant movement, continuous spontaneity, free from any restrictions...
There are so many excellent instrumentalists who are completely obsessed by the printed note, whereas it has a very limited power to express
what the music actually means."
Pablo Casals

"You must give each note life, your life... You must sacrifice, you must learn to give yourself to music...
Then you will make it live... Then you will be able to make other people understand music."
Nadia Boulanger

"Technique is not music... Music is the thousandth of a millisecond between one note and another,
how you get from one to the other - that's where the music is."
Isaac Stern

"Music making begins in the mind, not in the stick."

Leonard Bernstein

About the Clinician.....

Edward S. Lisk is an internationally recognized clinician, conductor, and author. He is a graduate of Syracuse University School of
Music with advanced studies at Ithaca School of Music, Syracuse University and Oswego State University. During his 21-year tenure
at the Oswego City School District (’70-’91), the Oswego High School Wind Ensemble received notable acclaim with performances at
national instrumental conferences and had the privilege of being conducted by most (31) of the nation’s prestigious conductors and
composers.
Mr. Lisk was recently the 48th director to be inducted into the prestigious National Band Hall of Fame for Distinguished
Conductors. This is considered to be the very highest honor any band director can ever receive in their lifetime. He joins the ranks of
notable conductors such as John Philip Sousa, Edwin Franko Goldman, Frank Simon, Henry Fillmore, Col. Arnald Gabriel and Col.
John R. Bourgeois, among many others. The National Band Hall of Fame for Distinguished Conductors is housed in a magnificent
facility made available by Troy State University in Alabama. Mr. Lisk’s installation was February 2, 2008.
In addition to this notable recognition, the University of Alabama School of Music appointed Mr. Lisk to the distinguished
Endowed Chair Position in Music Education for the 2007-08 school year. The appointment includes lectures dealing with
the preparation of future music educators and their responsibilities in the changing world of education, rehearsals, teaching
instrumental methods classes, and rehearsal techniques lectures based upon his Creative Director Series publications.
Mr. Lisk is an elected member of the American Bandmasters Association and in the year 2000, served as the 63rd President of this
distinguished organization founded by Edwin Franko Goldman. He has an active guest-conducting schedule that includes all-state
bands, honor bands, university, and professional bands including the U.S. Air Force Band, Australian Wind Symphony, U.S. Interservice
Band, U.S. Army Field Band, U.S. Army Band "Pershing's Own", and recently the 175th Anniversary Concert of the Allentown Band,
which featured several prominent conductors who had a significant impact on the band world during the past fifty years.
He is the author of The Creative Director Series (8 pub.) published by Meredith Music Publications and a co-author of the
highly acclaimed 7-volume publication by GIA, entitled Teaching Music Through Performance in Band. He is the editor of the
Edwin Franko Goldman March Series published by Carl Fischer Music. His editions of On The Mall, The ABA March, Bugles and
Drums, and Onward-Upward March are currently available. Since 1985, Edward Lisk has served as an adjunct professor, clinician/
lecturer, adjudicator, and guest conductor throughout 45 states, 5 Canadian Provinces and Australia. With emphasis upon rehearsal
techniques and school band program design, he has made more than 500 presentations at state, national and international
conferences, university graduate sessions, and workshops.
Mr. Lisk is an appointed member of the Midwest Clinic Board of Directors and serves the John Philip Sousa Foundation as
Vice-president for Administration. He is a past-president of the National Band Association (’90-’92), and served NBA as Executive
Secretary Treasurer (1997-2002). He holds membership in several professional associations and is an International Honorary
Member of Phi Beta Mu.
 Clinic Outline
"The written note is like a strait jacket, whereas music, like life itself, is constant movement, continuous spontaneity, free from
any restrictions... There are so many excellent instrumentalists who are completely obsessed by the printed note, whereas it has a
very limited power to express what the music actually means."...Pablo Casals
I. Introducing the Circle of 4ths
A. Expanding Musical Performance Vocabulary Also in Vol. 2, Chapter 2, Teaching Music
B. Transposition & Grouping Assignments Through Performance in Band - GIA Pub.
1. Chord Qualities, Composer Voicing, Melillo Function Chorales
2. Chord Progressions (I-IV-I, I-V7-I, I-IIm7-V7-I, & 7th tone chords)
II. Secret for Success: THE Grand Master Scale !
A. Why the Grand Master Scale ?
1. Breaking 'old scale habits'
B. Scale Variations, Articulation
C. Learning process for Scale Mastery
“Composers utilize the overtone series as part of their harmonic language. If the music is performed out of tune or
misunderstood, then the overtone series is destroyed, and the composer's intentions are not fulfilled.".....Robert Jager, Composer

III. The Mysterious World of In-Tune Playing

A. Student Responsibilities for Balance, Blend, Intonation
1. 3 Steps to Balance, Blend and Intonation
2. Beatless Tuning Process Also in Vol. 5, Chapter 2, Teaching Music
Through Performance in Band - GIA Pub.
B. Exercising Straight Line Tuning
1. 6 Step Tuning Process
C. The Art of Tuning Overtones
1. Pitch is relative to fundamental
2. Tuning Unisons, Octaves, 5ths, 4ths
3. Maximize Sonority & Resonance
D. Exercise Full Ensemble Listening
1. Full Band Tuning Process
a. Unisons, Octaves, 5ths, 4ths -Group Assignments
2. Vertical and Horizontal Listening Skills
a. Vertical = Just Tuning
b. Horizontal = Equal Tempered Tuning
(Grand Master Scale)

"We can never exhaust the multiplicity of nuances and subtleties which make the charm of music...We tend to be
inhibited by the printed score with its scarcity of expressive markings."...Pablo Casals
VII. Artistic Expression...taking the 'risk'... looking beyond the unadorned markings of musical notation.
A. The Search for Meaning (or, the “mystery” beyond the notes)
B. How do we exercise “expressive” playing?
1. Filling the “gap” between mechanical and artistic performance
C. Discovering nuance, inflection & feeling through rhythmic speech!
1. Word Prosody – Sentences, poetry, rhythms, questions, exclamation points, speech intonation
D. Subtleties of 'musical thought'
1. Melodic line - horizontal flow & direction
Also in Vol. 4, Chap. 3, Teaching Music
2. Harmonic content - tension and resolution
Through Performance in Band - GIA Pub.
3. "If you can't say it, you can't play it"
a. Speaking rhythm patterns
E. Energy and forward movement of “timed thinking:....Phrasing !!
1. Low Searches for High –High Searches for Low–Short Looks for Long

“A musical imagination that speaks through the beauty of sound...moving in and out of silence”....Edward S.Lisk
 The graphic illustrates a connected view of Alternative Rehearsal Techniques. The foundation is based upon the Circle of 4ths. All
musical elements in a warm-up or instructional (lesson) setting evolve from this central point or row of pitches. The literature
demands dictate the selection of musical elements as a preparatory exercise for a rehearsal. This may include articulation, rhythm
patterns, chord qualities, listening, intonation to name a few. The Circle of 4ths ties all the important elements together.

Circle of 4ths

To acquaint the students with the row of pitches, simply have them play the letter pitches (whole notes) starting with
their assigned (transposed) pitch and continue through the row as outlined below. Students should be instructed to play
mid-range notes.

B flat Instruments: C-F-Bb-Eb-Ab-Db(C#)-Gb(F#)-Cb(B)-E-A-D-G-C

E flat Instruments: G-C-F-Bb-Eb-Ab-Db(C#)-Gb(F#)-Cb(B)-E-A-D-G
F Instruments: F-Bb-Eb-Ab-Db(C#)-Gb(F#)-Cb(B)-E-A-D-G-C-F
C Instruments: Bb-Eb-Ab-Db(C#)-Gb(F#)-Cb(B)-E-A-D-G-C-F-Bb

"A musician’s mind constantly moves in time, synchronized with other members, creating
an “ensemble” of musical expression through the lyricism of melodic, harmonic, and
rhythmic sounds... moving in and out of silence."
 Ruler of Time

Graphic representing
students with poor
time awareness and
response.

Lacking a unified Inter-

nal Ensemble Pulse !!

Misaligned pulse con-

sumes rehearsal time!

Duration Exercises
Discipline of Duration Exercises
Note Values
Rehearsal #1 C F Bb Eb CONTINUE Number ='s
THROUGHOUT
1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
(Release)
ENTIRE CIRCLE OF 4THS
(Release) (Release) (Release)

Continue throughout entire

Release the moment the "mind" thinks of "4".
Circle of 4ths

C F Bb Eb ETC. Number ='s

Rehearsal #2
1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5
(Release) (Release) (Release) (Release)

Release the moment the "mind" thinks of "5".

Rehearsal #3 C F Bb Eb Number
ETC. ='s
1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 2 3 4 5 6 7
(Release) (Release) (Release)

Release the moment the "mind" thinks of "7".

Rehearsal #4 C F Bb Eb
NumberETC.
='s
1 2 3 4 5 6 7 8 9 1 2 3 4 5 6 7 8 9 1 2 3 4 5 6 7 8 9
(Release) (Release) (Release)

**See STUDENT SUPPLEMENT Book 1, pages 9-12

STUDENT SUPPLEMENT Book 2, pages12-17
TEACHING ACCESSORIES page 13 &13A
 The Grand Master Scale
The asterisk * above the last note of each scale indicates mind/thinking preparation for the next scale.
This example allows 4 beats to ‘think’ and ‘prepare’ for the next key signature and scale.

œœ œ œœ œ œ œ œ bœ
&c œœœœ œ œ œ bœ œ
C * F *
œœ
œ œœœœ œœ w w

b b
œ œ œ bœ œ œ œ bœ œ œ bœ œ œ bœ œ œ bœ bœ œ œ
B * E *

&
bœ œ œ bœ bw bœ œ œ bœ bw

b b
bœ bœ œ bœ œ bœ bœ bœ œ bœ
* D

œ œ bœ œ œ bœ bœ œ
A

& bœ bœ œ bœ
bœ bœ œ bœ bœ bœ bw
b
bœ œ bœ œ bœ bœ bœ bœ
bœ bœ bœ bœ bœ bœ bœ bœ
* G *
bœ
Cb

& bw
bw bœ bœ bœ bœ

& bœ bœ bœ bœ bœ bœ bœ #œ #œ œ #œ #œ œ œ #œ #œ
œ #œ #œ œ œ
* E *

bw w

œ œ #œ œ #œ œ œ œ #œ œ
A *

#œ #œ œ #œ #œ œ œ #œ
D

& œ œ #œ œ
œ œ #œ œ œ œ w

œ #œ œ #œ œ œ œ œ œ
œ œ œœ œ œœœ œ œ œœ œœ œ
* G C

& w w
œ œ œœ w

*Those unable to play all scales are to sustain the keynote (tonic) for the duration of that scale and
continue to the next scale. The Grand Master SHOULD NOTE BE NOTATED...students are to rely upon
scale knowledge (application of what has been taught and known).

The Octave of Reason !

“Establishing new musical value and worth for scale knowledge and performance”
1. Spontaneous reaction to ALL keys.
2. Individual and section ensemble technic.
3. Eliminate mindless repetition of technical passages found in solo and ensemble music.
4. A meaningful approach to sight reading.
5. Foundation for harmonic understanding.
6. Foundation for solo and ensemble intonation (playing in a “pitch center”).
7. Access to a full range of band literature.
8. Foundation for improvisation.

***See next page for scale variations.

 Grand Master Scale Variations

Examples of scale variations (adjust patterns to grade level):

1. Ascending-Descending
B
      

         
    
C

F

2. Ascending only

  

                
C F B E

3. Descending only
B
      E   
             
C F

  
          
           
   

4. Ascend the first and descend the next scale

     E   
       
C B
    
F

   
   
         
         
        

5. Descend the first and ascend the next scale

B E
  
                   
F

  
   
               
       

6. Ascend scale and descend chromatic scale

          
                         
C F

           
                   
   

7. Ascend chromatic scale and descend major scale

  
 
      3
 
        

 
 3
 
C F 3


 
 3 
 3 3

    
3


 
3

 
         
 
 3
  3
   
3


 
 3 
 3
 3 3
3

8. Mixed Meter Scale (7/8)

                                
C F

  
     
                   
  

Scales are played with various articulation patterns from band literature being prepared.
 The Mysterious World of In-Tune Playing
(Volume 5, Chapter 2)
"Composers utilize the overtone series as part of their harmonic language. If the music is performed out of tune or misunderstood, then the overtone
series is destroyed, and the composer's intentions are not fulfilled.".....Robert Jager, Composer

Overtone Series for Tuning

The Art of Tuning Overtones
= Beatless Octaves = Beatless 5ths

w w bw w w 1, To determine balance: If you hear yourself above all others in your section or band, you
w w w #w
& w w bw
w are overpowering or over-blowing. Make an adjustment to volume by playing softer; lose your
C w
? w identity by making your tone become a part of the section and/or the ensemble.
w
w w bw w w
w w w w 2. To determine blend: If you still hear yourself and you made the volume adjustment, you
& w w bw
w are playing with poor tone quality. Adjust embouchure, breath support, posture, or equipment
F ? w
w (instrument, mouthpiece, reed). Poor tone quality will not blend with your section or band; lose
w
your identity by blending your tone as it becomes a part of the section and/or the ensemble.
w w w bw w bw
bw bw w w
& w w 3. To determine tuning: If you still hear yourself, and you made the adjustments to balance
bw
Bb
? w and blend, you are playing out of tune ! Adjust the length of your instrument, as outlined in
bw
bw “Six-Step Tuning Process”

Six-Step Tuning Process

1. As you play F concert with your section leader, listen for the beats. Are the beats fast or slow? Adjust the barrel, mouthpiece, or slide. (Move the slide/barrel in or out).
2. If the beats become faster, you moved the barrel, mouthpiece, or slide the wrong way. Adjust the length of your instrument in the opposite direction.
3. If the beats became slower, you moved the barrel, mouthpiece, or slide in the correct direction. Continue in this direction until all beats are eliminated, or until you are
hearing the pitch as a straight-line.
4. If you are pinching your embouchure to eliminate beats, your instrument is too long and must be shortened.
5. If you are relaxing your embouchure to eliminate beats, your instrument is too short and must be lengthened.
6. When you and your section play the same pitch without any unnecessary embouchure adjustments and no individual sound or beats are heard (lose your identity).........
...........you and your section are perfectly in- tune !

Exercise Straight-Line Tuning & Target Tuning

(Law of Sound = Highs never pass Lows = Highs must be in-tune with the octave below)

Principal Player Overtone Tuning

U
w w w
"Played softly, a low frequency tone 13.
Piccolo & Piccolo/Eb Clar.
U
w w w w
must have ten times the energy of a 12.
Oboe & Oboe

midrange tone to sound as loud and U

w w w w w
11.
Flute & Flute
almost a hundred times the energy at
U
higher levels. Our ears are most sensitive Clarinet in10.
Bb & Bb Clarinet w w w w w w
U
to high tones, which require only a Trumpet in9.B b & Bb Trumpet w w w w w w
fraction of the energy to sound as loud U
w w w w w w w
8.
Alto Saxophone & Alto Saxophone
as a midrange tone.".....Robert Jourdain U
Horn 7. & French Horn w w w w w w
w w w w w w w w
in F

U
w w w w w w w w w
6.
Baritone Sax & Baritone Sax
U
5.
Bass Clarinet & Bass Clarinet w w w w w w w w w w

? Bassoon U
w w w w w w w w w w w
4.
Bassoon

? Trombone U
w w w w w w w w w w w w
3.
Trombone

2.
Euphonium
? Euph. U
w w w w w w w w w w w w w

TubaTuba
1. ? U
w w w w w w w w w w w w w w

Principal Players = Begin Tuning from Principal Tuba and tune up to Piccolo. Beatless unisons and octaves are the priority.

Full Ensemble Tuning (unisons, octaves, 5ths, 4ths)

Octave.........Group 1....Bb - Eb - Ab - Db - Gb - Cb - E - A - D - G - C - F
5th...............Group 2.... F - Bb - Eb - Ab - Db - Gb - B - E - A - D - G - C
5th...............Group 3.... F - Bb - Eb - Ab - Db - Gb - B - E - A - D - G - C
Root............Group 4....Bb - Eb - Ab - Db - Gb - Cb - E - A - D - G - C - F
 ˙˙ ˙ ˙ ˙ ˙
& ˙˙ ˙ ˙˙ ˙ Ó b˙ b˙ b˙ b˙ Ó b˙
? ˙˙ ˙
˙˙ b ˙Ó
˙b˙ b ˙˙ ˙b˙ b˙
˙ ˙ Ó
˙ Ó
? ˙ ˙ ˙˙
˙ ˙ b˙ ˙b ˙ b˙˙ ˙b ˙ b˙
b ˙ b ˙ b ˙ Ó˙ b˙˙ Ó
˙
FULL ENSEMBLE TUNING EXERCISES (Using ˙Circle of 4ths)
b˙ b˙ ˙ b˙ b˙ b˙
Exercise Tuning 3 in All Keys
˙F ˙ Bb ˙ ˙ Eb ˙ Ab
F Bb

&w ˙ b w
Ó b˙˙ ˙˙ b˙˙ ˙˙ b˙˙ Ó
˙ b w ˙ ˙ ˙ ∑ ∑ ∑
bbw
Basic Tuning #1
& w w
w ˙ ˙ w ˙ ˙ ˙ bw b w
˙ ˙ ˙ ˙ ˙ Ó
Group 1: F, Bb, Eb, Ab, etc.
? w bw Ó
? ˙ ˙ ˙ ˙ bw b ˙ ˙ ∑ b ˙ ˙ ∑ b ˙ ∑
Group 2 & 3: C, F, Bb, Eb, etc.
1w bw ˙
Group 4: F, Bb, Eb, Ab, etc. b w
˙ ˙
F Bb Eb
4 ˙ Ó b˙˙ ˙ b˙˙ Ó b ˙˙ ˙˙ bb˙˙ Ó b
&44 ˙ Eb
F˙ bBb ˙˙ ˙
Tuning Variation #2
˙ ˙
F Bb Bb
b ˙
Group 1: F, Bb, F, - Bb, Eb, Bb, etc. &4˙˙ ˙˙ ˙˙ Ó Ó ˙ b˙˙˙ ˙˙ Ó b˙˙ b˙ Ó ˙ b˙ Ó
?
Group 2 & 3: C, F, C, - F, Bb, F, etc. 4˙ ˙ ˙ b˙ ˙ b˙
˙ ˙ ˙ b ˙ ˙ bb˙˙
? ˙ ˙ Ó
Group 4: F, Bb, F, - Bb, Eb, Bb, etc.
b ˙ Ó
1 ˙ ˙
b˙ b˙ b˙
(move forward one pitch and return, etc.)
˙ ˙ ˙1
F Bb Eb

& 44 ˙ Ó b˙˙ ˙ b˙˙ BbÓ bb˙˙ ˙˙25 bb˙˙ Eb Ó

˙ ˙ ˙
˙ ˙ #3˙
F
Tuning 4Variation ˙F Ó ˙b ˙bb˙˙˙ ˙˙˙Ó b ˙bbb˙˙˙ Ó˙ b˙ ÓBb bb˙˙ ˙˙ bb˙˙ Ó
F Bb Eb

˙ G,˙F,& 4 ˙C, Bb, etc. Ó b ˙ ˙ b ˙

˙ ˙ b˙ ˙ ˙˙ Ó ˙ b˙ b˙ ˙ b˙ b˙
?1:44 F,
Group - ˙Bb, Ó ˙ ˙ ˙˙ (do-re-do) ˙ ˙Ó ˙b˙ & &˙ ˙˙ ˙˙ Ó ˙ ˙ ˙ Ó
Group 2 &˙ 3: ˙C, D,˙C,˙- F, G, F,˙etc. (do-re-do)b ˙ ˙ ˙ b ˙ ˙ bb˙˙ ˙ ˙ bb˙˙
˙ b ˙ ˙
44 C, Bb, etc. (do-re-do) b ˙ ˙ b ˙ ˙ ˙˙ ˙b ˙ ˙ ˙ ˙
Group 4: F, G, F,? Ó ˙ ˙ ? ˙ ˙Ó Ó ˙ ˙Ó ˙ Ó b˙ ˙ b ˙ Ó
?˙ ˙ ˙ ˙ b˙ ˙ b˙ ˙
- Bb,
˙ ˙ ˙ b ˙ ˙ b ˙ ˙ b˙ b ˙ ˙˙ b˙bb˙˙ ˙˙ Ób ˙ Ó
b ˙ ˙ b˙
31 b˙ b˙
2 Tuning Variation #4
˙ ˙F ˙˙ ˙˙ ˙ Bb ˙
F Bb
˙ ˙ ˙ ˙ ˙
F Bb Eb Eb
Group 1: F, G, F, - 2Bb,ÓA, Bb,
& ˙ ˙ ˙ b˙˙ ˙˙ b˙˙ Ó b ˙ &˙4˙w b ˙˙ Ó˙ ˙Ó bbw˙˙ ˙˙ b˙˙˙ Ó b b˙˙˙˙ ˙˙˙˙ bb˙˙b˙˙ Ó Ó
etc. (do-ti-do) b ˙ & 4 F b ˙ Bb Eb Ó b
Ab˙ ˙ b
Group 2 & 3: C, B, C,
˙
F - F, G, F, etc. (do-ti-do)
˙ ˙ & ˙ ˙ ˙˙ Ebbw w
˙
˙ bbww
∑ ∑
w ˙ ˙
Bb
˙ F, -˙Bb, A, Bb, etc. ˙ b ˙ ˙ ˙ b b
w ˙
Group 4:˙F, G,
? & Ó ˙ ˙ ˙ Ó ˙ b˙˙Ó ˙˙ b˙ ? (do-ti-do) b˙˙˙4 Ó b˙˙ b ˙w ˙Ó b ˙˙ ˙ÓÓ b ˙w˙ Ó b˙˙ ˙˙ b˙˙ Ó Ó
?
4˙w˙ ˙˙ Ó˙˙ ˙ bw˙
˙
˙ ˙ ˙ ˙ ˙
b ˙ ? ˙ b ˙ bw b ˙ ˙ bbb˙w˙ ˙ bb˙˙ ∑˙˙ bb˙˙ ∑
˙ ˙ b ˙ #5 ˙˙ b ˙ ˙
˙ ˙ ˙4 wÓ b˙ b bw˙ Ó
Tuning Variation
? ÓA, Bb,
Group 31: F, G, F, E, F, ˙ ˙ ˙
- Bb, C, Bb, etc.
˙
(do-re-do-ti-do
bBb˙ b ˙ ˙F ˙ b ˙Bb bEb˙
or scale steps 1, 2, 1, Bb7, 1)
b ˙ b ˙ ˙
F
Group 2 ˙& 3:˙C, D, ˙ C,˙B, C,˙- F,ÓG, F,b˙E, F,˙ etc.(do-re-do-ti-do&2˙ ˙ b˙˙ Ó ˙ Ó b˙˙ ˙ b˙˙ Ó
F Bb or scale steps 1, 2, 1, 7, 1)
& ˙ ˙ ˙3
Group 4: F, G, F, E, F, - Bb, C, Bb, A, ˙ ˙ ˙ ˙ F ˙˙
Bb, etc. b ˙
(do-re-do-ti-do or scale Bb steps 1, 2, 1, 7, 1) Eb
˙ ˙ ˙ ˙ ˙
˙ & Bb ˙ ˙ Ó b˙ ˙˙ b˙ b˙ Ó bb˙˙ ˙˙ bb˙˙ Ó
˙ ˙ ˙ ˙ ˙ ˙ Ó ˙ b˙ ˙ ˙ b˙˙˙ b˙˙ Ó b˙˙ ˙ Ó ˙ ˙ Ó
˙ ?
F

? ˙ &
˙ ˙ ˙
Ó ˙˙ ˙ ˙ ˙Ó ˙ ˙ ˙b ˙ b ˙ b ˙
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ b ˙ ˙˙ b ˙ ? ˙ b ˙˙ ˙ ˙ ˙ ˙ ˙ Ó b˙ ˙ b˙ Ó
˙ ˙ ˙ ˙ ˙ Ó
? ˙ ˙ ˙F ˙ ˙ ˙˙˙ ˙ b ˙˙ ˙Ó b ˙ Bb
5
b˙ ˙ b˙
4 ˙ Bb˙ Eb˙ Bb˙ Ó b ˙ b ˙
F˙
b ˙3 ˙ ˙ ˙ b ˙ ˙ ˙ ˙ b ˙ ˙ Ó b˙ b˙ ˙ b˙ b˙ Ó
Eb
b˙
˙ b˙ ˙ Ó b˙ b˙˙ b˙ Ó &
F Bb
˙F ˙ ˙ b˙
& ˙ ˙ ˙ ˙ ˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙ ˙
Bb
˙ b˙ ˙ b˙
4 Ó b ˙ ˙ ˙
˙ ˙
Tuning
˙ b ˙
Variation #6 & Bb ˙
Eb ? ˙ ˙˙ ˙ ˙ Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙Ó Ó
b ˙ b ˙ ˙ b ˙b ˙ b˙
˙
F Bb
˙˙
F
b ˙
Bb
b˙˙ (do-fa-sol-fa-dob ˙ b ˙
?1: F, Bb, C, Bb,
Group b˙ &˙ FÓ -˙ Bb, Eb,b ˙F,ÓEb, Bb,
˙ b˙ Óetc.
˙ ˙b˙˙˙ ˙ Ó ˙ ˙- or scale ˙
˙ steps b1,˙ 4,b5, ˙ 4, 1)˙ b ˙ b ˙ b˙
˙ ˙ F, C, -b ˙F,˙Bb, C, bBb, ˙ F, etc.?(do-fa-sol-fa-do ˙
˙ 1, 4, 5, ˙4, 1)˙ ˙ Ó
˙ ˙ ˙ ˙ Ó
Group 2 & 3: C, F, G, - or scale steps
˙ ˙ ˙ 5,b4,
? ˙ ˙ F, Eb, Bb, b ˙ 1, 4, ˙ 1)˙ b ˙
˙ b˙ wF˙ Ó Bb
Group 54: F, Bb, C, Bb, F - Bb, Eb, etc. (do-fa-sol-fa-do - orEbscale steps
Ó
˙ ˙ b ˙b˙ ˙ ˙
Ab

bw bwEb
w b ˙ Bbb ˙ ∑b˙
b ˙ b ˙bbEbw ∑ ∑
˙ b˙ & w
4
b ˙ ˙ b ˙
F Bb

Ó b˙ b ˙ wFb˙ bBb b b
w ˙
& ˙ ˙ 5˙ ˙ ˙ ˙ b˙w ˙ Ó b˙ bb˙˙w ˙b˙ b˙ Ó b ˙
Ó
F Bb
˙ b ˙ ˙
& wb ˙ Ó b b
w ˙ b ˙
˙F ˙ ˙ ? ˙ ˙ b˙w ˙ ˙ ˙
˙ ˙ b ˙ ˙ ˙ b˙ b ˙ ˙ Bbwb˙ ˙ b b
w ˙ b ˙ bw ˙ bEb˙ ∑b˙ b ˙ ∑
b ˙ b ˙
∑
? ˙ ˙ ˙ ˙
˙ b˙ ˙˙Ó b˙ bb˙˙ b˙ Ób˙ bb˙˙
˙ b˙ &˙ b˙ ˙ ˙ ˙ ˙
Ó
b ˙ Ó ? ˙ b˙b ˙ b˙ Ó b ˙ ˙ ˙ Ó b˙b ˙ Ó˙ b˙ b˙ Ó
˙ b˙ ˙
˙˙ b ˙ ˙˙ b ˙ b ˙ ˙ b ˙ b ˙b ˙ b ˙
b˙ b˙
˙ ˙ ˙ ˙ b ˙
? ˙ Eb ˙ Ab ˙
Ó 5˙
b˙ ˙ b˙ ˙ Ó b˙ b˙
Ó
˙ b ˙ b ˙ ˙ b ˙ ˙˙ b ˙ Bb b ˙
b˙ b ˙ b˙ b ˙
w
F Bb
F Eb
 Beyond The Page: The Natural Laws of Musical Expression
“The subtle emphasis can be communicated in music, by comparing it to how we speak.”
...Menahem Pressler, Beaux Arts Trio

Speaking Rhythm Patterns

Three Natural Laws of Musical Expression

“All music is nothing more than a succession of impulses
that converge towards a definite point of repose.”
Igor Stravinsky
Low Searches for High High Searches for Low

Short Looks for Long

Beyond The Page: Natural Laws of Musical Expression

S L L S L S L
S L S
L H L H L L H H L L

S L S L
H L H L L H

S L S L S L S L
S
L H L H H L L H

L S L S L
L H L H H L
 b
& b bbbbb
# ## #
& # # #
? b b b
Circle of 4ths
b b b b ? #### ##
5 6 7 #
b b b
D-G-C
(Fb)
Flats (7) Sharps
4 5 6
1 2 3 4 4 3 2 1
b b b
C-F-B-E-A 1 2 3
or
7
or
6
or
5
E-A-D-G
# #
(B#)
7
(E#)
6
(A#)
5
(D#)
4
(G#)
3
C-F-B
2 1

The top number indicates the number of flats or sharps in that particular scale.
The bottom number indicates the correct order of flats or sharps.

Woodwind Choir
Group 1 Group 2 Group 3 Group 4
Piccolo 2nd Flute 3rd Clarinet Bass Clarinet
Oboe 2nd Clarinet Alto Clarinet Bassoons
Eb Clarinet 2nd Alto Sax Tenor Sax Bari Sax
1st Flute Contra Clarinets
1st Clarinet
1st Alto Sax Brass Choir
Group 1 Group 2 Group 3 Group 4
1st Cornet 2nd Cornet 3rd Cornet Baritone
1st Trumpet 2nd French Horn 2nd Trumpet Euphonium
1st French Horn 2nd Trombone 3rd Trombone Tuba
1st Trombone 3rd & 4th French Horn
String Bass
Percussion
Vibraphone (soft mallets) Xylophone (soft mallets) Marimba (soft mallets) Tympani
© Copyright 1991 MEREDITH MUSIC PUBLICATIONS

b # # #
Circle of 4ths - Minor Scales
& b bbbbb & # ## #
? b b b ? #### ##
b b b b
b bb - ebb - abb #

a - d - g - c - f D - G - C c #- f #- b - e
C - F - B b- E b- Ab a# - d# - g# E - A - D - G or or or

(B#) (E#) (A#) (D#) (G#)

C #- F #- B
The small letter (a - d, etc.) above the shadowed capital letter indicates the relative minor scale.

Woodwind Choir
Group 1 Group 2 Group 3 Group 4
Piccolo 2nd Flute 3rd Clarinet Bass Clarinet
Oboe 2nd Clarinet Alto Clarinet Bassoons
Eb Clarinet 2nd Alto Sax Tenor Sax Bari Sax
1st Flute Contra Clarinets
1st Clarinet
1st Alto Sax
Brass Choir
Group 1 Group 2 Group 3 Group 4
1st Cornet 2nd Cornet 3rd Cornet Baritone
1st Trumpet 2nd French Horn 2nd Trumpet Euphonium
1st French Horn 2nd Trombone 3rd Trombone Tuba
1st Trombone 3rd & 4th French Horn
String Bass
Percussion
Vibraphone (soft mallets) Xylophone (soft mallets) Marimba (soft mallets) Tympani

© Copyright 1991 MEREDITH MUSIC PUBLICATIONS

 Important Reminders!
Edward S. Lisk

1) Do not play the "line"/Circle of pitches from memory! The Circle sheet must be on the music stand!
a) It is important to focus eye on each pitch as it is played. This establishes a pitch name "imprint,
connection, or association" with a scale, chord, chord progression, or other musical fundamental
played in a particular key.
b) Reading only pitch names (not notation) allows mind and ears to focus on "LISTENING" and forming
relationships to musical demands (tone quality, intonation, balance blend, keys, chords, melodic
lines).
REHEARSAL:
1. Listen for entrance and release accuracy = the uniformity of ensemble pulse is where
accuracy is found…not “following” the conductor.
2. Change duration and silence for each rehearsal…it is NOT the exercise that is important,
it is the POWER of FOCUSED CONCENTRATION in TEMPO that you are exercising.
3. Director is listening for balance, blend and intonation when playing chord qualities.
2) Intelligence vs. Mindless Repetition… DO emphasize the "mind-body" connection or the "process of
producing" a musical expectation (in-tune playing, tone quality, rhythm pattern, chord qualities, etc.).
a) Re-align your expectations and move slowly. Place emphasis on the timed thought process (neuro-
signal) that dictates the consistent accuracy of the musical product.
"The primary cause of all learning is the activity of the student's mind. The best that the best teacher can
do is to assist that activity." … Mortimer Adler, Reforming Education
*Always ask students to count the exercise out loud before playing…your direction will be, “let me
hear what is happening in your mind.” Insist on accuracy, if not, your directions were not clearly
understood. This is a top priority (and where traditional techniques break down).
3) Duration exercises shape/develop tone quality, balance, blend, and intonation… provide students the
opportunity to "listen for" and "adjust to" (making musical decisions) individual, section and ensemble
tone quality. All the questions and correct answers are insignificant if you and students cannot hear the
“application” of what was taught!
4) Scale variations develop technical skills and articulation clarity. A band that plays all scales (and
variations) is a superior band able to play a wide range of literature…
………….scale knowledge is to band music as the alphabet is to vocabulary/reading !
5) Dynamic exercises develop consistent response to the balanced/blended expansion and contraction of
ensemble sound. The approach immediately expands the dynamic range of your band. You can
specifically point out discrepancies at any point within a crescendo or decrescendo (not possible with
conventional techniques).
6) Active vs. Passive Participation: provide students with opportunities to exercise musical decisions that are
musically meaningful (too often overlooked). Without opportunities to exercise musical decisions
(correct/incorrect), students remain "passive," waiting to be told what to do! The directors direction will
be = “let me hear what is happening in your mind.” You are establishing ENSEMBLE THINKING in a
UNIFORM, TIMED PROCESS…this is intelligent music performance.
7) Be consistent: maintain the same musical expectations and rehearsal techniques for concert band, jazz
ensemble, marching band, small ensembles and solo performance. The fine art of musical performance
does not change!

© Copyright 1987 Edward S. Lisk

 Publications by Edward S. Lisk

Available through MEREDITH Music Publications/HAL LEONARD, Inc.

**The Creative Director: Conductor, Teacher, Leader ..........NOW AVAILABLE!

The Creative Director: Alternative Rehearsal Techniques (Text Vol. 1)
The Intangibles of Musical Performance (Text Vol. 2)
The Creative Director: Beginning & Intermediate Levels (Vol.3)
Student Supplement Book 1
Student Supplement Book 2
A.R.T. Teaching Accessories (Graphic illustrations of concepts)
Alternative Rehearsal Techniques DVD-Video, assisted by Virginia Commonwealth Univ. Wind Ensemble (1 hr.)

Available through GIA Publications

Teaching Music through Performance in Band Vol. 1

Teaching Music through Performance in Band Vol. 2
Teaching Music through Performance in Band Vol. 3
Teaching Music through Performance in Band Vol. 4
Teaching Music through Performance in Band Vol. 5
Teaching Music through Performance in Band Vol. 6
Teaching Music through Performance in Band Vol. 7 (Dec. 2008)

Available through Carl Fischer Publications

Edwin Franko Goldman March Series, edited by Edward S. Lisk
On The Mall March
The ABA March
Bugles and Drums March
Onward Upward March
On Parade (2009)

Edward S. Lisk
836 Co. Rt. 25
Oswego, NY 13126
Phone: 315-343-3595 Fax: 315-342-8695
E-Mail: elisk@twcny.rr.com
Web Site: http://web.me.com/elisk/Site/Bio_Sketch.html