ASBDA REGION 4
Building Better Bands
Daily Drill
Logically building on fundamentals to produce independent and mature musicians.
Todd Dixon
Wylie High School, TX - Retired
Acknowledgments
NOTHING HERE IS ORIGINAL….I learned this from mentors, colleagues and VERY judgy friends.
Biggest shout outs to:
Mr. Eddie Green - University of Houston, Director Emeritus
Children can do anything they are taught to do. They don't know that something is difficult unless an adult tells them that it is. The limitations on what kids can accomplish is determined by the LIMITATIONS OF THE ABILITIES OF THE ADULTS WHO TEACH THEM.
  • Jeff King - Author of Foundations for Superior Performance / Duncanville HS (Midwest/2x TMEA State Honor Band/3x UIL State Marching Champion)
  • Dr. Tom Shine - Duncanville HS (Midwest/2x TMEA State Honor Band/3x UIL State Marching Champion)
  • Gary Williams - Cockrill MS / McKinney North HS (Midwest/TMEA Honor Band/UIL State Marching Finalist)
  • David Brandon - Duncanville HS (Midwest/2x TMEA State Honor Band/3x UIL State Marching Champion)
  • Fred Allen - Stephen F. Austin University, Retired
  • Mark Schroeder - Wylie HS
  • Stephen Lisko - Wylie HS
This list is MUCH longer than the presentation allows for time….
WHAT is the concept of Daily Drill?
WARM UP is warming up the instrument
ENSEMBLE DAILY DRILL is the daily physical repetition of skills manipulated by the body to master playing a musical instrument.
Let's think about sports…
John Wooden
"I believe in the basics: attention to, and perfection of, tiny details that might be commonly overlooked. They may seem trivial, perhaps even laughable to those who don't understand, but they aren't. They are fundamental to your progress in basketball, business, and life. They are the difference between champions and near champions.

For example, at the first squad meeting each season, held two weeks before our first actual practice, I personally demonstrated how I wanted players to put on their socks each and every time: Carefully roll the socks down over the toes, ball of the foot, arch and around the heel, then pull the sock up snug so there will be no wrinkles of any kind."
Daily Routine for TONAL and MUSICAL growth.
Reinforce individual physical fundamental skills: breathing, embouchure, and hand position
Create an atmosphere conducive to productive rehearsal to establishes mental focus
Develop characteristic tone production across all registers, both individually and as an ensemble
Build and refine essential ensemble skills and concepts
Master various articulation techniques and stylistic elements
Enhance ear training abilities and intonation awareness
Strengthen music reading proficiency
Develop and refine technical facility
Mature Tonal Concept though PHYSICAL MANAGEMENT
Playing Position (check throughout rehearsal)
  • Body positioning with the instrument (posture)
  • No Tension
  • Look "the same" at each instrument
Vowel Shape (daily training)
Shape of tongue on the inside of the mouth
  • OO - Flute / Oboe / Saxophone / Horn
  • EE - Clarinet
  • AH - Bassoon / Bass Clarinet / Trumpet
  • OH - Trombone / Euphonium / Tuba
Air (daily training)
In-Out / Rate / Calm / How to breath for different situations (breath is always rhythmic related)
  • Timing in
  • Volume of air
  • No tension
Embouchure (daily training)
Facial attributes to each instrument
  • Look natural
  • This is your "Motor"
If you look right, you will usually sound right.
Instrumental Essentials
FLUTE
Playing Position (Perfect Playing Posture)
  • Chair - Angle the chair to the right, but keep the body facing forward
  • Feet - Feet flat on the floor
  • Seat - Sit in the front half of the chair
  • Back - Keep the back straight for proper balance of body and instrument
  • Shoulders - Shoulders are relaxed down and open, lift the flute from the elbows to avoid tension
  • Head - Angle the head to the right slightly to allow the foot joint to be slightly lower than the head joint, chin is slightly lifted; the head should remain balanced over the shoulders
Hand Position
  • Left Hand - Cradles the flute; wrist is bent
  • Right Hand - Makes a backward "C" and should feel natural; thumb on the back of the tubing of the body
  • Additional - Fingers float slightly above keys including pinky fingers
Weight/Balance
The flute is angled down slightly and the player's head is titled toward the right ear; the neck is long.
Embouchure (The Face with a Future)
  • Face - Corners stay soft; aperture is never wider than the tone hole; a circle of air is blown across the wet part of the bottom lip; as much bottom lip goes across the lip plate as possible; bottom lip covers 1/4 of the tone hole
  • Mouthpiece Placement - Bottom lip and lip plate are parallel; bottom lip rests on the lip plate
  • Vowel Shape - "OO"
  • Air Direction - Outer Edge of Tone Hole to the elbow pit / Air goes to the conductor.
Instrumental Essentials
OBOE
Playing Position (Perfect Playing Posture)
  • Chair- The chair and Body face forward toward the conductor
  • Feet- Feet flat on the floor facing the conductor
  • Seat- Sit in the front half of the chair
  • Back- Keep the back straight for proper balance of body and instrument
  • Shoulders- Shoulders are relaxed down and open`
  • Head- Head up and floating, chin is slightly lifted
Hand Position
  • Left Hand- Makes a "C" and should feel natural; fingers and thumb float slightly above keys
  • Right Hand- Makes a backward "C" and should feel natural; edge of the thumbnail under the thumb rest
Embouchure (The Face with a Future)
  • Face- Corners stay in; chin points down
  • Vowel Shape- "OO"
  • Air Direction- Between the center of the blades through the length of the instrument
Instrumental Essentials
BASSOON
Playing Position (Perfect Playing Posture)
  • Chair- The chair and Body face forward toward the Chair- The chair and Body face forward toward the conductor
  • Feet- Feet flat on the floor facing the conductor OR slightly under chair for balance
  • Seat- Sit in the front half of the chair
  • Back- Keep the back straight for proper balance of body and instrument
  • Shoulders- Shoulders are relaxed down and open`
  • Head- Head up and floating, chin is slightly lifted
Hand Position
  • Left Hand- Makes a "C" and cradles the bassoon; the thumb floats slightly above the keys
  • Right Hand- Makes a backward, flat "C'; fingers float slightly above keys
Embouchure (The Face with a Future)
  • Face- "MM" with the lips
  • Vowel Shape- "AH"
  • Air Direction- Between the center of the blades through the bocal
Instrumental Essentials
CLARINET
Playing Position (Perfect Playing Posture)
  • Chair- The chair and Body face forward toward the conductor
  • Feet- Feet flat on the floor facing the conductor
  • Seat- Sit in the front half of the chair
  • Back- Keep the back straight for proper balance of body and instrument
  • Shoulders- Shoulders are relaxed down and open`
  • Head- Head up and floating, chin is slightly liftedHead- Head up and floating, chin is slightly lifted
Hand Position
  • Left Hand- Points slightly downward; and the first finger is able to cover the first tone hole; touch the A key; and touch the G# key simultaneously
  • Right Hand- Makes a backward; flat "C" and should feel natural; cuticle of the thumb lines up with the thumb rest
  • Additional- Palms stay soft; fingers float above tone holes they are not covering; the flat, pudgy part of the fingers cover the holes;
  • Weight/Balance- There is a balanced amount of pressure on the reed; The back of the tongue is high against the molars, the middle dips down, and the tip is up toward the teeth (like saying the word "she")
Embouchure (The Face with a Future)
  • Face- Create a seal around the mouthpiece; Keep the top lip down; Keep the bottom lip against the teeth as a cushion; Feel the plastic of the mouthpiece with the corners
  • Mouthpiece Placement- Top teeth lodge the mouthpiece; the mouthpiece goes in as far as the facing
  • Vowel Shape- "EE"
  • Air Direction- Center of the tip of the reed for the length of the instrument
Instrumental Essentials
BASS CLARINET
Playing Position (Perfect Playing Posture)
  • Chair- The chair and Body face forward toward the Chair- Chair- The chair and Body face forward toward the conductor
  • Feet- Feet flat on the floor facing the conductor
  • Seat- Sit in the front half of the chair with pig in-between the front legs.
  • Back- Keep the back straight for proper balance of body and instrument; Student leans forward slightly so peg is under edge of chair
  • Shoulders- Shoulders are relaxed down and open`
  • Head- Head up and floating, chin is slightly lifted
Hand Position
  • Left Hand- Points slightly downward; and the first finger is able to cover the first tone hole; touch the A key; and touch the G# key simultaneously
  • Right Hand- Makes a backward; flat "C" and should feel natural; cuticle of the thumb lines up with the thumb rest
  • Additional- Peg is slightly under the chair to angle the top of the instrument away from the player
Embouchure (The Face with a Future)
  • Face- Create a seal around the mouthpiece; Keep the top lip down; Keep the bottom lip against the teeth as a cushion; Feel the plastic of the mouthpiece with the corners
  • Mouthpiece Placement- Top teeth lodge the mouthpiece; the mouthpiece goes in as far as the facing
  • Vowel Shape- "AH"
  • Air Direction- Over the center of the reed through the bend of the neck. Aim for the screw on the neck.
Instrumental Essentials
SAXOPHONE
Playing Position (Perfect Playing Posture)
  • Chair- The chair and Body face forward toward the conductor
  • Feet- Feet flat on the floor facing the conductor
  • Seat- Sit in the front half of the chair
  • Back- Keep the back straight for proper balance of body and instrument
  • Shoulders- Shoulders are relaxed down and open`
  • Head- Head up and floating, chin is slightly lifted
Hand Position
  • Left Hand- Fingers slightly covered and down-swept; fingers stay on pearls
  • Right Hand- Makes a backward; flat "C" and should feel natural; cuticle of the thumb lines up with the thumb rest; fingers stay on pearls
Embouchure (The Face with a Future)
  • Face- Create a seal around the mouthpiece; Keep the top lip down; Keep the bottom lip against the teeth as a cushion; Feel the plastic of the mouthpiece with the corners
  • Mouthpiece Placement- Top teeth lodge the mouthpiece; the mouthpiece goes in as far as the facing
  • Vowel Shape- "OO"
  • Air Direction- Over the center of the reed through the bend of the neck. Aim for the screw on the neck.
Instrumental Essentials
TRUMPET
Playing Position (Perfect Playing Posture)
  • Chair- The chair and Body face forward toward the conductor
  • Feet- Feet flat on the floor facing the conductor
  • Seat- Sit in the front half of the chair
  • Back- Keep the back straight for proper balance of body and instrument
  • Shoulders- Shoulders are relaxed down and open`
  • Head- Head up and floating, chin is slightly lifted
Hand Position
  • Left Hand- Fingerprints touch the trumpet; thumb is in the saddle; ring finger is in the third valve slide ring; index finger is touching the underside of the bell pipe
  • Right Hand- Tip of thumb is between 1st & 2nd valve; thumb is straight; side of thumb is touching the underside of the lead pipe; slight curve to the fingers; big knuckle is even with top of valves; pinky is on top of ring
  • Additional- Hands are soft and natural; fingers always touching where they are set. . . especially the valves
  • Weight/Balance- Left hand is holds the weight while the right hand helps balance and stabilize the trumpet
Embouchure (The Face with a Future)
  • Face- Center of lips are soft; corners in against canine teeth; the wet part of the lips stay against the teeth at all times; teeth are even and apart; tongue stays flat and forward to allow proper airflow
  • Mouthpiece Placement- 50% top lip, 50% bottom lip
  • Vowel Shape- "AH"
  • Air Direction- Through the lead pipe to the FIRST BEND of the main tuning slide
Instrumental Essentials
HORN
Playing Position (Perfect Playing Posture)
  • Chair- The chair and Body face forward toward the conductor
  • Feet- Feet flat on the floor facing the conductor
  • Seat- Sit in the front half of the chair
  • Back- Keep the back straight for proper balance of body and instrument
  • Shoulders- Shoulders are relaxed down and open`
  • Head- Head up and floating, chin is slightly lifted
Hand Position
  • Left Hand- Fingers are slightly curved; fingerprints touch widest part of valve lever; thumbprint touches thumb valve; pinky is in the ring; horn rests on meaty part of hand
  • Right Hand- All fingers and thumb are together and slightly curved slightly to form a blade; back of right hand is in the throat of the bell up to the big knuckles around 2 o'clock
  • Weight/Balance- The horn is balanced between the meaty part of the left hand and the top of the right index finger's knuckle
Embouchure (The Face with a Future)
  • Face- Center of lips are soft; corners in against canine teeth; the wet part of the lips stay against the teeth at all times; teeth are even and apart; tongue stays flat and forward to allow proper airflow
  • Mouthpiece Placement- 60% top lip, 40% bottom lip
  • Vowel Shape- "OO"
  • Air Direction- Through the lead pipe to the PINKEY finger on the left hand
Instrumental Essentials
TROMBONE
Playing Position (Perfect Playing Posture)
  • Chair- The chair and Body face forward toward the conductor
  • Feet- Feet flat on the floor facing the conductor
  • Seat- Sit in the front half of the chair
  • Back- Keep the back straight for proper balance of body and instrument
  • Shoulders- Shoulders are relaxed down and open`
  • Head- Head up and floating, chin is slightly lifted
Hand Position
  • Left Hand- Shaped like a water gun; meaty part of hand is on the bell lock nut; thumbprint is on the thumb valve (cross brace if using a single horn)
  • Right Hand- Index finger; middle finger; and thumb grab the bottom corner of the second brace; the wrist is straight and stays still; move the slide from the elbow "push with the thumb, pull with the fingers"
  • Additional- Left hand holds the weight of the trombone; the body of the trombone rests slightly against the neck (NOT the shoulder); fingers always touching where they are set . . . especially the valves
  • Weight/Balance- The trombone is held in the left hand and stabilized against the side of the neck
Embouchure (The Face with a Future)
  • Face- Center of lips are soft; corners are natural; the wet part of the lips stay against the teeth at all times; teeth are even and apart; tongue stays flat and forward to allow proper airflow
  • Mouthpiece Placement- 60% top lip, 40% bottom lip
  • Vowel Shape- "OH"
  • Air Direction- Through the lead pipe to the FIRST BEND at the end of the slide
Instrumental Essentials
EUPHONIUM
Playing Position (Perfect Playing Posture)
  • Chair- The chair and Body face forward toward the conductor
  • Feet- Feet flat on the floor facing the conductor
  • Seat- Sit in the front half of the chair
  • Back- Lean slightly forward
  • Shoulders- Shoulders are relaxed down and open`
  • Head- Head up and floating, chin is slightly lifted
Hand Position (same regardless of 4th valve type)
  • Left Hand- Gently cradle the bottom of the euphonium in toward the body allowing the top of the euphonium to lean slightly away from the body (ready for 4th valve in L-hand)
  • Right Hand- Tip of thumb is between 1st & 2nd valve; thumb is straight; slight curve to the fingers
  • Additional- Hands are soft and natural; fingers always touching where they are set . . . especially the valves
  • Weight/Balance- The euphonium is supported by the left arm
Embouchure (The Face with a Future)
  • Face- Center of lips are soft; corners are natural; the wet part of the lips stay against the teeth at all times; teeth are even and apart; tongue stays flat and forward to allow proper airflow
  • Mouthpiece Placement- 67% top lip, 33% bottom lip
  • Vowel Shape- "OH
  • Air Direction- Through the lead pipe to the FIRST VALVE
Instrumental Essentials
TUBA
Playing Position (Perfect Playing Posture)
  • Chair- The chair and Body face forward toward the conductor
  • Feet- Feet flat on the floor facing the conductor
  • Seat- Sit in the front half of the chair
  • Back- Lean slightly forward
  • Shoulders- Shoulders are relaxed down and open`
  • Head- Head up and floating, chin is slightly lifted
Hand Position
  • Left Hand- Rests on top near 1st valve tuning slide
  • Right Hand- Fingers are slightly curved; fingerprints touch widest part of valve lever; thumb inside ring or floats;
  • Weight/Balance- The tuba is balanced between the knees or can rest on the player's lap or seat depending upon the correct height and angle of the tuba
Embouchure (The Face with a Future)
  • Face- Center of lips are soft; corners are natural; the wet part of the lips stay against the teeth at all times; teeth are even and apart; tongue stays flat and forward to allow proper airflow
  • Mouthpiece Placement- 67% top lip, 33% bottom lip
  • Vowel Shape- "OH"
  • Air Direction- Through the lead pipe to the FIRST VALVE
Instrumental Essentials
PERCUSSION
Playing Position (Perfect Playing Posture)
  • Standing with weight evenly distributed
  • Stand square to the instrument
  • Stand tall
Hand Position (Get hands on)
  • All fingers on the stick or mallet
  • Palm down
  • Flat top of hand
  • Fulcrum closed
  • Even angle from both hands
Stroke (Hands with a Future)
  • Work with the mallet or stick in a natural rebounding motion.
  • Timpani and mallet instruments more up-stroke
  • Snare more down-stroke
Daily Drill
Building LISTENING SKILLS Through Progressive Complexity
Unison Foundations
Begin with single notes, focusing on fundamental start-middle-end, vowel shape, pitch, and articulation. Gradually expand to two-note, three-note, and multi-note exercises while maintaining unison playing across the ensemble.
Ask questions of what students are hearing from themselves, side to side, and within the room. Get within the group to hear their listening environment.
Use solfège singing to reinforce pitch relationships before playing on instruments.
Simple Harmonic Structures
Introduce a basic harmony exercises (like "pass through" exercises) where students sustain notes while others move, creating awareness of vertical harmony and how individual parts contribute to the whole.
Use model/mirror groups to train the ear. Ask questions of what students are hearing. Matching energy is a MUST to have harmonic intervals speak with chordal intonation and color.
Use solfège singing to reinforce pitch relationships before playing on instruments.
SATB Application
Progress to full four-part harmonies where students must balance tonal energy within sections and across the ensemble AND make decisions on balancing to melody.
Use smaller choirs to train the ear. Ask questions about harmonic intonation within woodwind choir, brass choir, across choirs.
Use solfège singing to reinforce pitch relationships before playing on instruments.
DAILY DRILL LEVEL 1
Foundational/Fundamental exercise on F to start the day.
Also doubles as a classroom management technique to start with a quiet class.
TOOLS - Metronome (not loud) & Pitch Reference (tonal energy / harmony director)
1
Air
2x-4x's
2 count breath in, out for 8
Check playing position
Check timing in
Listen for front-middle-end
Evaluate and ask questions
  • Tension in body (usually in shoulders)
  • Consistent pitch
  • Metered air
this can be with or without instrument
2
Sing
2x-4x's
Sing on vowel shape or "Do"
Check playing position
Check timing in
Listen for front-middle-end
Match Pitch & Energy
Evaluate and ask questions
  • Energy from person to person
  • Front of note
  • End of note
3
Play
2x-4x's
Play
Check playing position
Check timing in
Listen for front-middle-end
Match Energy
Evaluate and ask questions
  • Energy from person to person
  • Front of note
  • End of note
  • Extraneous Noise?
DAILY DriLL LEVEL 1
Critical Listening: Isolating Sound
TOOLS - Metronome (not loud) & Pitch Reference (tonal energy / harmony director)
1
One Note Exercise - look to do things THE SAME
Concert F
Evaluate
  • Breath
  • Front of Note
  • Match Energy with Trio
  • End of Note
  • Same Tonal Energy Throughout
2
Two Note Exercise
F Descending or similar
  • Sing / Play (don't have time to do this EVERY day)
  • Change keys when the skill is mastered
  • Great drill for students to get to know the tuning tendencies of their instrument
  • FANTASTIC drill for teaching/reinforcing vibrato for vibrato instruments (flute/double reeds/sax)
Evaluate
  • Breath
  • Front of Note
  • Match Energy with Trio
  • Smooth Note Change
  • End of Note
  • Same Tonal Energy Throughout
3
Three Note Exercise
Intervals Descending / Ascending
Evaluate (question musicians-involvement)
  • Breath
  • Front of Note
  • Match Energy with Trio
  • Smooth Note Change
  • End of Note
  • Same Tonal Energy Throughout
4
Multiple Note Exercise
Flow Studies (Phrase to the note after the high note)
Evaluate (question musicians-involvement)
  • Breath (all on one breath for #1)
  • Front of Note
  • Match Energy with Trio
  • Smooth Note Change
  • Same Tonal Energy Throughout
  • End of Note
Alternating Intervals (F-Gb-E-F | F-G-Eb-F | F-Ab-D-F | F-A-Db-F | F-Bb-C-F | F-B-B-F)
5
Articulation
ON CONCERT F
6
Scales/Scale Patterns
7
Around The Band
Evaluate (question musicians-involvement)
  • FRONT-MIDDLE-END
  • Match Energy with Trio
  • Match Energy with previous section
  • Touching the next group
  • This is NOT a tuning exercise; HOWEVER, you can evaluate intonation to see if you need to address individual tuning
DAILY DRILL LEVEL 2
Critical Listening: Combining Sounds
TOOLS - Metronome (not loud) & Pitch Reference (tonal energy / harmony director)
  • Allows director to snake around and fix any playing position
  • Allows director to listen from the musician's environment
  • Reinforces time
  • Conduct with metronome to show YOUR ictus of time in association with the audible metronome. When the sound of the met is lowered over time, they will understand where your time is better…we are ALL vary.
1
Two Note Combinations: MATCH ENERGY!
80% of all tuning problems are balance and tonal color problems.
Pass Through Exercise Major/Minor (you can use sing/play…it just takes longer. Do it; however, not daily)
A/B DRONE AND MOVING NOTES
  • Major 2nd (+4)
  • Major 3rd (-14)
  • Perfect 4th (-2) just aim for center
  • Perfect 5th (+2) just aim for center (stop here for younger groups)
LAST PART IS ONLY FOR ADVANCED PLAYERS
  • Major 6th (-16) this is where it gets noisy-Lots of disagreement
  • Major 7th (-12) even noisier-More disagreement
  • Octave
DO NOT GO BEYOND WHAT THEY CAN MAKE A MATURE SOUND. THIS IS A PROCESS, BE PATIENT.
Use the keys in the pieces you will be performing.
Evaluate (question musicians-involvement)
  • Breath
  • Match Energy with Trio - this is VERY important for harmonic intonation/energy
  • Smooth Note Change - does the harmony change together
  • Same Tonal Energy Throughout - does the quality stay the same from the front-middle-end
  • End of Note - Intonation / Release
  • Who is better the A's or B's?
2
Simple Chorale - SATB
  • Listen in Choirs - Brass Choir / Woodwind Choir
  • Ask questions of those not playing
  • What questions can we ask based on what we have learned?
  • ALWAYS ask the percussion a question
  • Combining instrument colors - Woodwind color the brass sounds
Effective Ear Training Strategies
Section of the Day
Focus intensely on one instrument group. Spotlight their unique challenges. Other sections learn by observation and reflection.
Around the Room
Each player performs brief passage individually. Builds accountability. Provides immediate feedback opportunities.
Split Choirs
Divide band into complementary voice groups. Build awareness of harmonic roles. Integrate with solfège singing for pitch internalization.
  • WW Choir
  • Brass Choir
  • Clarinet Choir
  • Saxophone Choir
  • Trumpet Choir
  • Tuba/Euphonium Choir
  • Trombone Choir
  • Flute Choir
  • WW Quintet
  • Brass Quintet
  • Etc
DAILY DRILL LEVEL 3
MATURE MUSICAL DECISIONS
Teaching students to make informed choices about phrasing, dynamics, and articulation based on historical context, stylistic considerations, and artistic intent.
…WE NEED A PROCESS
DAILY DRILL LEVEL 3
The Directed Listening Model™
TOOLS - Metronome (not loud) & Pitch Reference (tonal energy / harmony director)
Thank you to Dr. David Clemmer, Dr. John Pasquale and Christoph Breithack for this information.
The model facilitates the ensemble's needs through real-time aural analysis. Conductors must have detailed knowledge of the model's components to direct attention to pressing issues during rehearsals. The Directed Listening Model™ provides a methodical rehearsal system.
PULSE
  • EVEN FLOW OF TIME
  • PULSE, BEAT-MOTION, AND SUBDIVISION • System for Conceptualizing Subdivision • Internalization of the Subdivided Beat-Motion
  • RHYTHM • Duration of Sound and Silence • Conceptualizing Rhythms
SOUND PRODUCTION
  • Playing Position (Posture)
  • Embouchure
  • Airstream • Metered Inhalation and Exhalation
  • Vowel Shape
  • Characteristic Sound Quality and Color
  • Resonance
  • Intonation
  • Note Shape
  • Front
  • Middle
  • End
  • Motor Skills
  • Instrument Tendencies
COMPREHENSIVE BALANCE
  • Volume
  • Sound Color
  • TONAL ENERGY
  • Individual Tonal Energy
  • Section Tonal Energy
  • Ensemble Tonal Energy
  • Ensemble Symmetry
  • Comprehensive Balance Chart
  • Comprehensive Balance Equation
MUSICALITY
  • Articulation
  • Altering the Default Note Shape
  • Articulation Markings (Style
  • Interpretation of Articulation Markings
  • Dynamics
  • Prolonged Dynamic Alterations
  • Momentary Dynamic Alterations
  • Phrasing
  • Forward Motion and Musical Emphasis
  • Harmonic Motion and Cadential Clarity
Transferring Concepts to Repertoire