ALTERNATIVE

REHEARSAL
TECHNIQUES
K h a iru n n isa b in ti Jo h a ri

E rn ie Ju a n P rim a b in N o rd in
D 20081032423
B a n ch a k o rn S o m b o n
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 USING CIRCLE OF 4ths….
Bb instruments: C F Bb Eb Ab Db Gb Cb E A D G
Eb instruments:
G C F Bb Eb Ab Db Gb Cb E A D
F instruments:

F Bb Eb Ab Db Gb Cb E A D G C
Bb Eb Ab Db Gb Cb E
C(non transposing)
 A D G C F

 3 Steps to Balance,Blend,
and Intonation…
To immediately improve the tone quality of
your band, respond to the following steps:


 1) If you hear yourself above all others in

your section or band, YOU ARE
OVERPOWERING OR OVERBLOWING. Make the
necessary adjustment with volume. This
initiates an auditory response to BALANCE.

2) If you still hear yourself and you made the
volume adjustment..YOU ARE PLAYING WITH
POOR TONE QUALITY. Make the necessary
adjustment with embouchure, breath
support, and posture. This physical reaction
to tone production initiates an auditory
response to BLEND. Poor tone quality will
not blend with your section or band.

3) If you still hear yourself and you made the
adjustment with Balance and Blend..YOU
ARE PLAYING OUT OF TUNE. Adjust the
length of your instrument. This last step
initiates an auditory response to BEATLESS
TUNING. You are now ready to apply the
tuning procedures.

 6 Step Beatless Tuning
Process
 The principal (1st chair) player of a section
is responsible for the intonation of the
section. Therefore, all principal players are
responsible for the intonation of the band and
its pitch center! If you are the section player,
it is your responsibility to play in tune with
your principal player and section. The steps
outlined below will immediately improve the
tone quality and intonation of your band.
 

 The designated tuning pitch is played by your

section leader or principal player.


1)As you play the pitch, listen for the “beats”(2

or more pitches not sounding the same
frequency).make an adjustment with the barrel,
mouthpiece or slides.. Did the “beats” speed
up or slow down?
2)If the “beats” are faster..you made the wrong

move with barrel, mouthpiece or slide. Adjust

the length of the instrument in the opposite
direction.

3)If the “beats” became slower..you are making
the correct move. Continue in this direction
until all “beats” are eliminated.
4)If you find yourself “pinching” your
embouchure to eliminate “beats”..your
instruments is too long, it must be shortened.
5)If you find yourself “relaxing” your
embouchure to eliminate “beats”..your
instruments is too short, it must be lengthened.

 6) When you and your section play the same
pitch, without any unnecessary
embouchure pressure or relaxtion, and
not able to identify any “individual
sound” in your section..You and your section
are perfectly in tune and playing with proper
balance and blend!

 Basic Duration Exercise.
The exercise are not to be conducted or
associated with any type of musical notation.
Foot tapping is discouraged as is any type of
percussive sound to maintain pulse.
Sustain pitch through to the given number.
Do not allow sound to continue beyond.
 (This is important in developing uniformity
with ensemble entrance and release).

The priority is not to rely upon you director
maintaining the pulse but to develop a silent-
controlled - accurate internal ensemble
counting procedure.


Director will only count for the first 2 or 3

pitches at which time the entire band will
continue.


This is the most effective instructional

procedure to unify and synchronise your
pulse with other band member.

Example:
 in Bb concert circle of fourth
 C F Bb Eb Ab Db Gb
Cb…………
 1234 1234 1234 1234 1234 1234
1234 1234
 Every each notes sustain to 4 beat and
proceed to the next pitch. Tempo 54 - 60


It can be do for sustain to 5,6,7,9,11,13.

Longer duration extend your concentration
power/focus but should not be attempted
until the band members can sense and feel
Measurement of sound and
silence
The following exercise are used briefly at the
beginning of a rehearsal to focused
controlled pulse during silence.
This controlled silence will determine the
ensemble accuracy with an entrance.
Any unnecessary room noise or movement
disturbs the intense though process for sound
and silence exercise.
Do not continue if this occurs.

Example:
 C F Bb Eb Ab
 1234 R 2 3 1234 R 2 31234 R 2 3
1234 R 2 3……
 **every note SOUND in sustain 4 beat and
rest (R) 3 beat before go to the next notes.
 **This for duration with 3 count of silence.


Continue with duration with 4,5, and 6 counts of

silent.
To avoid monotonous create your own number

combination. Tempo 54-60


 Grouping
This grouping assignment provide a variety of
approaches and sound color for the exercises
used throughout this method.
The group determined by the part you play in
band.
Have been divided into woodwind, brass, and
percussion choir so they may be applied in
sectinal rehearsal group or group lesson
settings.
The percussion assignment encourage only
keyboard instrument and timpani with softest
mallet available. (to emphasize and rely upon
the internal ensemble pulse instead of the
Middle School & High School Band
 Woodwind Choir
Group 1 Group 2  Group 3 Group 4
Piccolo 2nd Flute 3rd Clarinet Bass Clarinet

Eb Clarinet 2 Clarinet Alto Clarinet 1st & 2nd
nd
1 & 2 Oboe 2nd Alto Sax
 Tenor Sax Bassoons
1st Flute 
Bari. Sax
1st Clarinet ContraClarine
 Brass Choir
1st Alto Sax ts
Group 1 Group 2 Group 3 Group 4
1st Cornet 2nd Cornet 3rd Cornet Baritone/
1st Trumpet 2nd Trumpet 2nd Trumpet Euphonium
1st French 2nd 3rd Tuba
Horn Trombone Trombone String Bass
1st Trombone 3rd & 4th
French Horn
 

 Percussion Choir

Vibraphone Xylophone Marimba Tympani
(soft mallets) (soft mallets)

(soft mallets)


 ….suggested group assignment. But,

adjustment are determined by band
instrumentation and size
Elementary School Band
 Woodwind Choir
Group 1 Group 2 
Group 3 Group 4
Oboe 2nd Flute 
3rd Clarinet Bass Clarinet
Flute (piccolo) 2nd Clarinet  Alto Sax Bassoons
Clarinet Tenor Sax Baritone Sax
 Brass Choir
Group 1 Group 2 
Group 3 Group 4
1st Trumpet 2nd Trumpet  Trombones Baritone Sax
1st French 3rd Trumpet 2 nd French
 Percussion
Tuba
Horn Horn
 **if available, percussionist play vibraphone, xylophone or bells with
soft mallet using Group 1. If instrument not available, play basic
rhythm pattern or rolls on soft rubber pad.
 Full Band Tuning Process
This group provide you with the opportunity to
tune ‘beatless’ octaves, unisons and fifth
upon the volume of fundamental Group 4
(high pitched instruments cannot pass the
sound of low pitched instruments)
Sustain each pitch (no pulse – length indicated
by director) and respond to the sequence – 3
steps
For improved listening – close eyes and
visualize straight line of sound (beatless)
supported by a full, sonorous tone quality.

Group
 1 -
C – F - Bb – Eb – Ab – Db – Gb – Cb – E –
A–D–G
2 - G – C – F – Bb – Eb – Ab – Db – Gb – B –
E–A–D
3 - G – C – F – Bb – Eb – Ab – Db – Gb – B –
E–A–D
4 - C – F – Bb– Eb – Ab – Db – Gb – Cb – E –
A–D–G


 **for transposing instrument they need to

transpose the note first.
 Duration Exercise With
Grouping and Choir
Assignment-Warm UP
 Open 5ths Group Assignment
Group 1 & 2 GC F Bb Eb Ab
 12345 12345 12345 12345 12345
12345
Group 3 &4 C F Bb Eb Ab Db
 (All tempo 54 -60)

 Major 3rds Group Assignment

Group 1 & 2 E A D G
 1234567 1234567 1234567 123..
Group 3 & 4 C F Bb Eb

 Open 5ths Choir Assignment


WoodwindG C F Bb
Mallet Perc. 12345 R 2 3 12345 R 2 3 12345
R 2 3 …….
Brass Choir C F Bb Eb


Major 3rds Choir Assignment



WoodwindE A D G
Mallet perc. 12345 R 2 3 12345 R 2 3 12345
R 2 3 …..
Brass Choir C F Bb Eb


**Close your eyes and with your “mind eye”, look at the


total band sound from the bottom (tuba) to the top

(piccolo). Adjust your volume and project a full sonorous
sound to balance and blend with the band sound you
 Major Chord Grouping For
All Duration Exercises
The variation with voicing (roots, 3rd , 5th )
provides your band with many listening
options to develop balanced, blend and
intonation.
The starting pitch assignment allows the band
to play ALL major chord.
You will develop a better understanding for the
harmonic progressions used in your band
music.
  Major Chord with Tonic in Group 1
Group 1 C F Bb Eb Ab Db
(tonic) 12345 12345 12345 12345 12345
12345
Group 2(3rd )E A D G C F
Group 3(5th )G C F Bb Eb Ab
Group 4 C F Bb Eb Ab Db
(root)

 **continue with major chord with 3rd in Group 1

(plus with rest) and major chords with 5th in
Group 1.
 (All tempo 54 -60)
 Minor & 7th Tone Chords
Grouping for all Duration
Exercises
The assignment provides additional
opportunities to
further develop ensemble balanced, blend, and

intonation. (All tempo 54 -60)



 Minor Chord (flat 3 in Group 1)

Group 1(b3) Eb Ab Db Gb Cb Fb
Group 2(T) C F Bb Eb Ab Db
Group 3(5th ) G C F Bb Eb Ab
Group 4 C F Bb Eb Ab Db
(root) 12345 12345 12345 12345 12345
12345
 Dominant 7th Chord (flat 7 in Group 1)
Group 1(b7) Bb Eb Ab Db
Group 2(3rd) E A D G
Group 3(5th ) G C F Bb
Group 4 C F Bb Eb
(root) 12345 R 2 3 12345 R 2 3 12345 R 2
3 …..


**continue with major 7th chord (natural 7 in

Group 1)
**Close your eyes and with your “mind eye”, look at the

total band sound from the bottom (tuba) to the top

(piccolo). Adjust your volume and project a full sonorous
sound to balance and blend with the band sound you
“see”.
