Band Performance

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1. In a well-balanced band the low instruments should be played the strongest; the middle instruments should be second strongest; and the high instruments should be the softest.
2. In a well-balanced clarinet or trumpet section the third part should be played the strongest; the second part the second strongest; and the first part should be played the softest
3. To balance a triad play the first note (root) the strongest; the third the second strongest; and the fifth the softest.
4. To balance a seventh chord play the root the strongest; the third the second strongest; the fifth the third strongest; and the seventh the softest.
5. To perform a good release the high instruments release first, the middle instruments release second, and the tubas release last.
6. Members of a good-sounding section listen carefully to each and match tone quality, pitch, and dynamics.
7. Trumpets in a concert band should be held with their bells in the stand.
8. Trumpets in a jazz band should be held with their bells above the stand.
9. Trombones should always be held with their bells above the stand.
10. Flutes should be held parallel to the floor.
11. Clarinets should be held at a 45 degree angle.
12. Two eighth notes tied across a bar line should be played short.
13. To play a long note tied to a short note precisely, rest on the short note
14. Classical grace notes are played full value and on the beat.
15. 20th century grace notes are played just before the beat.
16. Trills are played by starting on the written note and alternating rapidly to the next higher note in the key.
17. The order of the flats is Bb, Eb, Ab, Db, Gb, Cb, and Fb.
18. The order of the sharps is the same as the flats in reverse order: F#, C#, G#, D#, A#, E#, and B#.
19. The rule for finding the name of the key that has flats is , “The name of the key is the next to the last flat.”
20. The rule for finding the name of the key that has sharps is, “The name of the key is 1/2 step higher than the last sharp.”
21. The major key signatures are as follows:
    

    C has no sharps or flats
    F has one flat	G has one sharp
    Bb has two flats	D has two sharps
    Eb has three flats	A has three sharps
    Ab has four flats	E has four sharps
    Db has five flats	B has five sharps
    Gb has six flats	F# has six sharps
    Cb has seven flats	C# has seven sharps

22. Notice that C has no sharps of flats (the fewest possible sharps and flats) while C# has seven sharps (the most possible sharps) and Cb has seven flats (the most possible flats.)
23. Notice that F# and Gb (enharmonic names of the same note) have six sharps and six flats respectively.
24. Notice that the flat and sharp scales that have the same letter name, i.e., Bb and B, Ab and A, F and F#, etc., have a total of seven accidentals in their key signatures. For example: Bb has 2 flats and B has 5 sharps; 2 + 5 = 7.
25. Cb and B are enharmonic names of the same note, i.e., they have the same fingering and make the same sound. Similarly, the Cb and B major scales are fingered the same and make the same sound. This is also true of the F# and Gb major scales as well as the C# and Db major scales
26. As you go from one flat key to the next around the circle of fourths, the new flat is always the fourth note of the scale.
    For example:

    F	G	A	Bb	C	D	E	F
    			Bb	C	D	Eb	F	G	A	Bb

27. As you go from one sharp key to the next around the circle of fifths, the new sharp is always the seventh note of the scale.
    For example:

    G	A	B	C	D	E	F#	G
    				D	E	F#	G	A	B	C#	E

28. Notice that all of the flats scales but one (F) have flat in their name: F, Bb, Eb, Ab, Db, Gb, Cb
29. Notice that only two scales (F# and C#) have sharp in their name: G, D, A, E, B, F#, C#
30. Being able to draw the following diagram might help:
    (Remember: CaliFornia B E A D Grand Canyon)