Rep Deck Games Manuals and Answer Keys

Rep Decks Orchestral Series Games Manual
Rep Decks Studio Series Games Manual
Rep Decks Keyboard Series Games Manual

Rep Decks Orchestral Series: Starter Edition Answer Key
Rep Decks Orchestral Series: Undergraduate Edition Answer Key
Rep Decks Orchestral Series: Graduate Edition Answer Key

Rep Decks Studio Series: Flute Edition Answer Key
Rep Decks Studio Series: Piccolo Edition Answer Key
Rep Decks Studio Series: Oboe Edition Answer Key
Rep Decks Studio Series: Clarinet Edition Answer Key
Rep Decks Studio Series: Bassoon Edition Answer Key
Rep Decks Studio Series: Trumpet Edition Answer Key
Rep Decks Studio Series: Horn Edition Answer Key
Rep Decks Studio Series: Trombone Edition Answer Key
Rep Decks Studio Series: Tuba Edition Answer Key
Rep Decks Studio Series: Percussion Edition Answer Key
Rep Decks Studio Series: Double Bass Edition Answer Key

Rep Decks Keyboard Series: Introductory Edition Answer Key
Rep Decks Keyboard Series: Intermediate Edition Answer Key
Rep Decks Keyboard Series: Advanced Edition Answer Key

Articles

Bringing in a Brass Chamber Ensemble
Whether you play in a brass trio, quartet, quintet or sextet, an important technique for a group leader to master is the cue that brings the ensemble in at the beginning of a performance.  This multimedia article teaches a method that the Empire Brass has used for over three decades and has taught to hundreds of other brass ensembles.
Because of the online video demonstrations throughout this article, it is best view using a high speed connection.  The video clips are in Flash format.  If your Flash plug-in is outdated or not installed yet, you may be prompted to download the most recent version.  Due to Microsoft’s update of Internet Explorer in April 2006, you may have to click on the video once to “activate” it and then click on it again to begin playback.

Diversity in Phrasing
The elegant and imaginative shaping of a musical phrase requires the use of many techniques.  This article describes these techniques and how they may be applied to create a more rounded performance.  An even broader understanding of when to apply the techniques described here can be gained by first reading its companion essay, Intelligent Design.

Gate Checking Your Large Musical Instrument (or Case)
If your instrument or the case you’re using (i.e., double, triple or quad-case) is too large to be considered a carry-on item, you have two choices when you fly in the United States: check your instrument as baggage or buy a seat for it.  If you fly often, purchasing an extra seat on every flight may not be practical.  So how do you minimize the risk to your instrument when you have to check it?  Try gate-checking it.

Intelligent Design
Playing what is written on the page is good.  It is also the least that is expected.  Capitalizing on the more hidden expressions in music requires that a performer first be able to find them.  The search for such moments often requires more than instinct but open-mindedness and objectivity as well.  This article examines the things to look for when mining a of piece music for hidden expressive opportunities.

Musical Chairs
The seating configuration of any wind ensemble does not have to be fixed.  In fact, moving instruments around for certain pieces may make more sense both practically and musically than one may think. Presented here is a perspective on seating configuration for bands and wind ensembles as well as a discussion of its many benefits.

Short Stories

How to be a Jazz Critic
Bill Anschell tells gives you all the catch phrases you need to know to become a first rate jazz critic.

Jazz Jam Sessions: A First-Timer’s Guide
Experience the comedic musing of writer/pianist, Bill Anschell, as you learn the proper etiquette and hidden dynamics of a jazz jam session.
This short story contains adult themes and language that some readers may find objectionable or offensive.  Readers’ discretion is advised.

There’s a Sucker Born Every Minute
This short story by Bill Anschell takes an inside look at the death-defying life of a staff musician aboard the S.S. Norway.
This short story contains adult themes and language that some readers may find objectionable or offensive.  Readers’ discretion is advised.

Searching for Glory at the Cookin’ Cadenza
Here’s a humorous tale about struggle of trying to be a “real” musician in the midst of mediocrity.
This short story contains adult themes and language that some readers may find objectionable or offensive.  Readers’ discretion is advised.

Careers in Jazz
A clear and concise dissertation on the structure of the jazz world and the interactions of its constituents.

Word of the Week

set C (Eng.) = This term refers to a standardized number of instrumental parts offered by publishers of orchestral music.  It includes a Wind Set (1 of each of the woodwind, brass and percussion parts) plus 8 of each of the 1st violin and 2nd violin parts and 5 of each of the viola, cello and contrabass parts (8-8-5-5-5).

Featuring the voices of Steve Campbell (Minnesota Orchestra, tuba) and Michelle Montone Campbell (Florida West Coast Symphony Orchestra, bass clarinet)

Joke of the Fortnight

What’s the difference between a catfish and a drummer?…

One’s a bottom-crawling scum sucker and the other’s just a fish.

If you like this Joke of the Fortnight, tell a friend, bookmark this page and be sure to come back in two weeks.

Tip of the Month

One of the important and distinguishing characteristics of an efficient chamber music rehearsal is…

…a streamlined verbal communication.  Below is an example of a verbal exchange between Susan (clarinet), John (French horn) and Mike (flute) during an average student woodwind quintet rehearsal.

SUSAN: Uh, John, I think you may be a little behind in measure 12?

JOHN: Oh? Where? On the high note?

SUSAN: No. Actually, going into beat four.

JOHN: Oh. I thought I was right with you. You want to try it?

SUSAN: Yeah. Sure.

JOHN: …

SUSAN: …

JOHN: Where do you want to start?

SUSAN: How about measure 10?

JOHN: Okay.

SUSAN: …

JOHN: …

SUSAN: Mike, can you start us off?

MIKE: Where are you guys talking about?

SUSAN: Measure 10.

MIKE: With everyone?

SUSAN: Sure.

MIKE: Okay. One, two, three, {breath}…

The preceding exchange is quite common in chamber music rehearsals. Unfortunately, a lot of time is wasted and the pace of the rehearsal is bogged down by the players’ lack of verbal efficiency.  The result is that they will spend less time actually playing and get less accomplished during the rehearsal. Here’s an example of a more streamlined “exchange.”

SUSAN: John, it sounds like you’re a little late or I’m early going into beat four of measure 12.  Let’s try it again, with everyone, from measure 10. Ready?  One, two, three, {breath}…

All the same information is there: what the problem is, where it occurs, the invitation to fix it by starting with everyone playing from a specific measure and the count off to start the ensemble.  Notice how Susan doesn’t wait for a verbal response to her only question.  The question, in this case, is more of a command: “Get ready.”  She can visually confirm that everyone is ready rather than waiting for responses which may not come if her colleagues realize that the question is rhetorical.  Inflecting it as a question is simply being more polite.
Following some basic guidelines during a rehearsal will speed you on your way to a quality performance:

• Talk only of issues that affect the rehearsal at hand.
• Use the minimum amount of words to communicate your point. You can work on this by limiting yourself to 10 seconds to make your point.  If possible, try to inflict this limitation on your colleagues as well.
• Only ask “real” (as opposed to rhetorical) questions when you can’t obtain the answer from listening to the particular passage being played.  If you’re unsure about what someone is doing at a particular place, simply have the group play it again.  This will develop your listening skills and avoids the possibility of someone inadvertently telling you that they’re doing one thing but actually doing something else when they play their instrument.
• If you are the last (or only) person to bring up an issue, take responsibility for restarting the group at a specific place in the music.  Much time is wasted when everyone sits and waits for someone else to take action.  Luckily, this sense of responsibility is contagious and, once your colleagues see you with it, they will quickly want a taste of such power when they have the floor.

The more playing a chamber group does, the greater their chances of improvement.  Focusing and trimming the dialogue during rehearsals will pay off with the musicians achieving their goals faster and giving them a greater sense of accomplishment for the time spent together.  Eliminate inefficient dialogue from your rehearsals.  If not, you may find that your rehearsals improve your group’s ability to be inefficient faster than its ability to play well!