Teaching a Group of New Tenors

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SgtZydrate Offline
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Teaching a Group of New Tenors

Posted: Sun May 13, 2012 4:31 pm



I recently became the center tenor and asst. section leader for my high school band. We'll have four tenors this coming year (myself included) but I'm the only one with experience. We have a percussion instructor, and a great one, but he does get really busy so I have to basically teach the entire tenor line. They need a LOT of work, so here I am, asking for help so that I can help them.

We have a few exercises in our handbook that work on double-beat, clean double-stroke rolls, flams, you name it. Still, one of them can't seem to get good diddles to save his life. Another needs massive help learning to do a single-stroke four. I'm not sure what to say or do to get them to play the rudiments properly; I know they can do it, but I could really use some help on how to help them.

Any advice, videos, etc would be GREATLY appreciated. It'll be my senior year, and I'd like a rockin' tenor line. They're all willing to learn and put in the work, but they need that extra push.

Thanks a LOT to anyone with suggestions, ideas, etc.


FerreusOpus Offline
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Re: Teaching a Group of New Tenors

Posted: Sun May 13, 2012 6:45 pm



I'd love to be of some help, but without videos of them, there's not a whole lot anyone can do over the internet.
The best advice I have for you is to remember the ways that your instructor got you to play those things when you were learning. Use those techniques to your advantage and don't be afraid to alter them to suit your needs.
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Band Diddles Offline
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Re: Teaching a Group of New Tenors

Posted: Sun May 13, 2012 7:28 pm



Play trips everyday for the double things.

Also,

That video, lol you're welcome.
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tommyservo7 Offline
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Re: Teaching a Group of New Tenors

Posted: Mon May 14, 2012 12:37 am



Ummmm... Do you have to take 3 new tenors in one year? Taking two new with one returner is kind of a stretch it my opinion. Three would leave one in a position too geographically distant for you to give any meaningful advice during rehearsals.

/opinion
Tom

2007-2011 OBFP
2011-2012 College in Indiana

Multi-pitched timp-tom tenor-scaled membranaphone for life.


sxetnrdrmr Offline
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Re:

Posted: Mon May 14, 2012 11:15 am



this early on, what I would spend at least 75% of the time on is playing togehter on one surface. Like, gather around one practice pad and play the basic exercises together. That way, the noobs can copy your hand position/motion definition/timing definition etc. THEN, when you are actually on the drums and seperated by space, you at least know that they have some definition of wha tthe yshould be trying to do.

I have 2 returning, VERY veteran tenor players this year, and they still spend time just playing together on one surface to make sure they are defining things. They have played together now for 3 years...1 as top and second bass, and then tenors last year and this year.

Another thing would be to spend alot of time working on the 4 diddle rudiments in this fashion. Work them slow-fast-slow. Also run Stone patterns 1-13 at different tempo ranges - 90/110/130 are good ones to start with. Since many tenor movement patterns are based on these it is important to have a good handle on them.

I personally use the tenor book by Julie Davila, I am blanking on the name right now, the one published by Rowloff, for my noob tenors. She covers things like head position, movement patterns, and READING tenor music in a very logical way.

There are TONS of things to do, and they have to be done in the right order, to get things going, but it can happen. The NUMBER ONE thing is NOT worrying about practicing crossover-sweeps at 200bpm...at this stage, practice the foundation of what those are made of and get clarity in interpretation going.
Iv'e got sXe!!!!
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Up the Antix!!!!

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justinbelcher Offline
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Re:

Posted: Wed May 30, 2012 7:32 pm



There's no shortcut to improving deficiencies in technique, so just stay patient and make sure you're spending time with them individually to address things they struggle with. If you have any say in it, I'd push to make sure your tenor book is achievable with the hands you have. It's difficult for any section to play a book with intermediate vocabulary if they are still developing basic skills, and you'll get much more credit from competent adjudicators achieving basic vocabulary at a high level.

The likely reality is for your section to be successful, you (personally) are going to have to play music that is a little below your level—and that's okay. This is an opportunity for you to elevate the ability of several of your peers, gain useful instructional experience, and improve your own understanding of basic technique by having to break it down for others. The real measure of if your line is "rockin" will not be how many three drum scrapes you played, but whether or not all four of you can stand on the field at your last competition having played the book at the peak of musicality, quality, and consistency. I'd pay good money for more tenorlines like that.

Good luck!


sxetnrdrmr Offline
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Re: Re:

Posted: Thu May 31, 2012 12:05 pm



justinbelcher wrote:There's no shortcut to improving deficiencies in technique, so just stay patient and make sure you're spending time with them individually to address things they struggle with. If you have any say in it, I'd push to make sure your tenor book is achievable with the hands you have. It's difficult for any section to play a book with intermediate vocabulary if they are still developing basic skills, and you'll get much more credit from competent adjudicators achieving basic vocabulary at a high level.

The likely reality is for your section to be successful, you (personally) are going to have to play music that is a little below your level—and that's okay. This is an opportunity for you to elevate the ability of several of your peers, gain useful instructional experience, and improve your own understanding of basic technique by having to break it down for others. The real measure of if your line is "rockin" will not be how many three drum scrapes you played, but whether or not all four of you can stand on the field at your last competition having played the book at the peak of musicality, quality, and consistency. I'd pay good money for more tenorlines like that.

Good luck!
...word. What I do for my groups is I divide the time - whether it be a season, a week, a day, an hour - into measurable "demand" chunks like this:
- 70% regular demand <- this is the body of what we do. Stuff that we need to work on, but will hopefully get better, and even added to the instant success category
- 10% pushing yourselves <- try to tackle stuff that is above your level;
- 20% instant success <- you need this to keep morale up and drive to come back going;

when I write the book, or plan a rehearsal, or pace a month of practices, I have found that this formula keeps the juices flowing. My kids all know going into the season that they will have some stuff they can read and play on the spot to create "warm fuzzies", stuff that is just beyond where they are now, and stuff that might not be piss clean by finals, BUT will push them to go to the next level next year (we call these bytch measures/phrases/runs ...whatever). Whats cool is, now that I have been here for 20 years, things that were bytch areas, are now in the "warm fuzzies" category. Alums come back and go..."wait...thats a warm up? WE couldn't even play that at the end of our senior year in xxxx

What I see most young groups do is this:
60% skipping fundamentals
40% pushing themselves....when they are not ready to be there yet
0% instant success...leading to lots of quitting or frustration

pace your goals, and identify them with the group o that they know what track they are all on. If you come at them with "dudes, if we aren't playing the tenor part to the Ditty by July we are gonna suck..." that sets up a pretty grim future. Be smart about what makes the rooks smile when you all are playing and base the pacing off of that. Add something to it everytime you come back, but also review and reinforce what you did
Iv'e got sXe!!!!
NAATD!!!!
Up the Antix!!!!

ImageImage

Image

Its' All about the Parking Lot - Watterson Drumline
www.bishopwattersondrumline.webs.com
OSUMB Tenor tech
Pearl
Zildjian
Innovative Percussion
Remo/Evans


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