Strategy #1 Sing, Buzz, Play

o The teacher chooses a short passage, and then asks students to sing their part to
solidify their knowledge of the pitches. Then, the teacher asks students to buzz
their part on their mouthpieces to sync their thoughts with their mouth
movements. Then, the teacher asks students to play their part with their
instrument
o This technique is very effective when students are having trouble playing the
correct pitches either because of inexperience or range-issues
o This technique is tailored to brass players, but it could be modified for other
instruments. This technique is most effective in small groups, such as in
sectionals, or private lessons
o I observed this technique in a private lesson with Tom Sherwood.
Strategy #2 Super Staccato
o The teacher asks students only to play the very beginnings of the notes Super
Staccato in a passage. This helps solidify students rhythm and accuracy with
articulations.
o This exercise will work with groups of any size that are advanced enough to count
accurately
o I observed this technique in a concert choir rehearsal under Jeremy Little.
Strategy #3 Right Wrong Right
o If students play a section incorrectly, the teacher will first demonstrate the correct
way to play it, then demonstrate it in the incorrect style that the students
performed it to reinforce why that way is incorrect. Finally, the teacher will
demonstrate it the correct way to reinforce the correct form. This exercise can
also be used as Wrong Right, where the teacher will demonstrate the incorrect
and the correct way to save time.
o This technique is effective in groups of any size to help with performance
accuracy.
o I learned this technique in a discussion with a fellow educator, Spencer Kibbler.
Strategy #4 Focus Clap
o This comes in handy when students are becoming unfocused and noisy. Rather
than yell to get attention, the teacher will clap a simple four beat rhythm, and the
students must clap it back in response. This back and forth continues until the
teacher is satisfied and the students are refocused.
o This technique is effective in a large ensemble group
o I observed this technique from a sample lesson led by Dr. Gault
Strategy #5 (Start Slow to Play Fast)
o If students experience difficulty playing fast passages, the teacher can advise their
students to practice it slowly and perfectly, and once they can play it perfectly
they can speed up the tempo a bit. Then, once they can play it perfectly at the
faster tempo, keep increasing the speed until it is fast and perfect!
o This technique works best in private lessons or in a students personal practice.
o I found this method in Nurtured by Love written by Suzuki
Strategy #6 Follow the Conductor

o If the students are having difficulty following the teachers conducting, the
teacher may conduct a four pattern and ask students to say 1,2,3,4 out loud in
time to the conducting. The conductor may change the speed or style of their
conducting at any time, and it is the students job to watch and stay with the
conductor.
o This technique will help large ensembles watch the conductor through times of
rubato.
o I observed this technique in a youth orchestra rehearsal led by Allen Tinkham
Strategy #7 Timing Exercise
o The teacher will choose a scale for students to play. The teacher will conduct in a
4 pattern and at the start of each new measure the students will add a note to the
scale. To demonstrate, students will start playing one note of the scale, and then
in the next measure two notes, and after that three, etc.
o This exercise can be used as a warm up for a large ensemble or in sectionals.
o I observed this exercise from Jason Nam, AI of the Marching Hundred.
Strategy #8 Monkey See, Monkey Do
o The teacher will demonstrate a difficult passage or technique, and the student will
repeat it back. This can be repeated until students fully grasp and can remember
the concept.
o This can be used in any size ensemble or in private lessons.
o I observed this technique from a choir rehearsal under Jeremy Little.
Strategy #9 Sight Reading Preparation
o When a teacher assigns a piece to sight read, the teacher will instruct students to
seek out and circle difficult sections and pay special attention to those sections
while sight reading.
o This technique can be used in any size ensemble or in private lessons.
o I observed this technique from a choir rehearsal under Jeremy Little.
Strategy #10 Beatbox
o If students are having difficulty playing their part in time, have other students
freestyle beat box in time while they play their parts. This could be used during a
run-through of a piece; have students beatbox instead of resting.
o This technique works best in a large ensemble.
o I observed this technique during a wind ensemble rehearsal under Randy Sundell.