Here at the Reference Desk, you can access
multimedia articles and other entertaining and educational materials on
a variety of musical themes. A brief description appears below
each title along with any content advisories for that link.
Bookmark this page and be sure to visit often to see the new Word of the Week,
Joke of the Fortnight and
Tip of the Month.
Rep Deck Games Manuals, Answer Keys, Kahoot Quizzes
and Quizlet Sets.
Click here for links to
free Rep
Decks Kahoot quizzes and Quizlet sets for you to use with your class
or friends online.
Rep Decks
Orchestral Series Games Manual
Rep Decks Studio Series Games Manual
Rep Decks Keyboard Series Games Manual
Rep Decks Vocal 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: Saxophone 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: Euphonium Edition Answer Key
Rep Decks Studio Series: Tuba Edition Answer Key
Rep Decks Studio Series: Percussion Edition Answer Key
Rep Decks Studio Series: Harp Edition Answer Key
Rep Decks Studio Series: Violin Edition Answer Key
Rep Decks Studio Series: Viola Edition Answer Key
Rep Decks Studio Series: Cello 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
Rep Decks Vocal Series: Art Song Edition Answer Key
Rep Decks Vocal Series: Choir Edition Answer Key
Rep Decks Vocal Series: Opera 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
etwas (Ger.) = somewhat, a little bit—as in Strauss’s
Ein Heldenleben
“etwas langsamer” (somewhat more slowly)
Featuring the voices of Joe Foley (Rhode Island
Philharmonic Orchestra, principal trumpet) and Leslie Wu Foley (New England Conservatory, Dean and Executive Director of Preparatory and Continuing Education)
Joke of the
Fortnight
-
I Bought Your New CD!
-

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!