The Power of Tone: Building a Foundation for Success
In the world of music education, one truth remains universal: tone is everything. A strong, resonant tone serves as the foundation upon which all other musical elements are built. Without it, even the most well-tuned and rhythmically precise performances will fall flat. As Eddie Green aptly put it in The Dynamic Band Director, “A great sound is the essence of a great band.” For directors teaching grades 6–12, particularly those in their first decade of teaching, mastering tone development within your ensemble is the single most impactful way to elevate your program.
Prioritizing Tone Over Everything Else
It can be tempting to focus on preparing your older students for upcoming festivals and competitions. However, real, sustainable change in your program comes from investing in your youngest musicians. Beginners with a strong foundation in tone development grow into intermediate and advanced players who elevate the overall quality of your ensemble. This philosophy is supported by the work of Mary Ellen Cavitt, who highlights in her research the importance of scaffolding tone development early and systematically (Journal of Music Teacher Education).
Practical Strategies for Tone Development
Reevaluate Your Rehearsal Priorities: If your program allows, consider restructuring your beginners’ winter concert preparation. For example, some schools have opted to forego the winter concert altogether to dedicate more time to tone development. If skipping a concert isn’t feasible, focus on selecting repertoire that emphasizes long tones, phrasing, and tone quality over technical demands.
Daily Tone-Building Routines: Dedicate the first 10–15 minutes of every rehearsal to tone exercises. For beginners, this could include long-tone drills using concert F, gradually expanding to simple interval exercises. As students progress, incorporate chorales and flow studies to reinforce tone production in an ensemble context.
Model, Model, Model: Demonstrating proper tone on your instrument—or leveraging advanced students or professional recordings—can provide students with a clear auditory target. As Dick Floyd emphasizes in The Artistry of Teaching and Making Music, “Students must first hear great tone to produce it.”
Address Instrument-Specific Challenges: Take time to troubleshoot common tone issues specific to each instrument. For example, clarinet students often struggle with overblowing and embouchure tension, while brass players may need guidance on airflow and embouchure flexibility. Personalized feedback during sectionals can make a significant difference.
The Role of Directors in Tone Development
As a director, your influence extends far beyond the podium. Your ability to cultivate a culture of tone excellence can have a profound impact on your students. By placing tone development at the forefront of your teaching philosophy, you not only improve the quality of your ensemble but also instill in your students a lifelong appreciation for the art of sound.
Supporting Research and Resources:
Green, E. (1987). The Dynamic Band Director.
Cavitt, M. E. (2003). “Scaffolding Musical Development in Beginning Ensembles.” Journal of Music Teacher Education.
Floyd, R. (1998). The Artistry of Teaching and Making Music.
In the next installment of this series, we’ll explore the critical role of rhythm in ensemble success. As you work to develop tone within your ensemble, remember: tone isn’t just an element of music; it’s the very soul of it.