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HUHS Bands HUHS Orchestra
Preface
This guide has been written for the Hartford Union High School Music Department students and their parents to provide information regarding the various policies, procedures, and activities of the instrumental music program at Hartford Union High School.
All music students and parents are urged to read the entire manual carefully at the beginning of each school year to understand the policies and procedures stated herein. This guide is not meant to be all-inclusive, but rather a source of information for students and parents. Policies will be updated from time to time, and we will keep students informed of changes. Check the music department website for updates and announcements (www.huhs.org/departments/music)
Welcome to the Hartford Union High School Music Department
The members of the Music Department are:
Proud Members …
Proud to be a part of one of the community’s most respected groups.
Proud of the excellence the organization consistently maintains.
Proud of the traditions.
Becoming a contributing member of the band and orchestra is not an easy task. Only the most diligent students make the grade. The current members and directors will do everything possible to make you feel comfortable, and to have a positive music experience.
In order to be adequately prepared to perform the finest in instrumental music literature, it is essential that each member know and understand the basics of musicianship as well as the procedures of the music department. That is one of the reasons this booklet has been prepared.
A fine instrumental organization is made up of fine musicians. In order to secure the confidence and respect that comes with this musicianship, you must strive to do your very best and always put forth 100%. Every good organization has high standards of performance and behavior – ours is no exception. Take pride in the organization to which you belong!
It’s Not WHAT you play, but HOW you play!
Choirs: Orchestra Band
Stephanie Klockow 670-3301 Joyce Malloy 670-3302 David Vandermeuse 670-3304
Stephanie.klockow@huhs.org joyce.malloy@huhs.org dave.vandermeuse@huhs.org
Ernie Brusubardis 670-3301
Ernest.brusubardis@huhs.org
A Brief History of Music at HUHS
In 1937, Theodore Steinmetz and a fully recognized high school band program appeared on the Hartford scene simultaneously. Mr. Steinmetz, “Steinie,” whose name recalls happy times for many in our community, accelerated the process of developing the hidden talents of promising young musicians.
In 1943, Michael Posgay became the high school’s first full-time director, and in that year, conducted Hartford High School’s first formal band concert. Mr. Posgay continued the work initiated by Mr. Steinmetz, but with the coming of 1944, Mr. Posgay and many other high school band directors were suddenly called upon to march to the music piped by Uncle Sam in World War II. Mrs. Posgay took leadership of the band in her husband’s absence until 1945, when she handed the baton over to Michael Ross. In his two years at the high school, Mr. Ross did much of the spadework for his successor, William Roddick. During his ten years as band director (1947-1957), Mr. Roddick raised the standard of Hartford’s high school band. The band advanced from Class C to Class A status, compiled near-perfect records in tournament after tournament, performed at the State Teachers’ Convention, performed before countless local audiences, and hosted the District Band Contest. Mr. roddick brought the band’s numbers up to 70 musicians, and for the first time, All members were outfitted in red and black uniforms.
Leonard J. Schneider came to Hartford in 1957. In keeping with the tradition of excellence already established by his predecessors, Mr. Schneider was constantly seeking perfection from his band students. This was reflected in the band’s outstanding performance record during his time at Hartford Union High School.
In 1973, enrollment in the band program grew, and David Kranjac was added to the music staff, taking charge of one band and the orchestra program. In 1982, David Vandermeuse took over leadership of the orchestra program. Mr. Kranjac and Mr. Schneider continued to lead the band program. Mr. Kranjac took full leadership of the band program and music dept. chair in 1988, aided by the talents of Mr. Vandermeuse.
In 1986, Cathy Parge took charge of the string program at the high school. In 1988, Joyce Malloy was added to the high school music staff on a part-time basis, directing the high school string program. In 1995, in addition to the orchestra, Mrs. Malloy became director of the Oriole Band.
Mr. Kranjac retired in spring of 2007, after 33 continuous years of leading the msuic program at HUHS. Because of budget cuts due to a shortfall in funding revenues, Mr. Kranjac’s position was not filled.
The Hartford Union High School Band has carried its banner to Interlochen, Michigan; Winnipeg, Canada; Nashville, Tennessee; Orlando, Florida; and numerous cities throughout Wisconsin. In 1968, the band was selected to perform for the Wisconsin State Music Convention. In 1976, the band was invited to the Bicentennial Parade at Walt Disney World in Florida. In additon to concerts and tournaments, the band has performed at the state fair, sponsored a Massed Band Clinic, played numerous exchange concerts with other schools and attended the football Band Day at Madison and Milwaukee Universities. In 1987, the band had the distinct honor of performing for the president of the United States, Ronald Reagan. In April of 1992, the Jazz Ensemble was the only high school jazz group in the nation selected to perform at the National School Board Convention in Orlando, Florida, receiving an extended standing ovation from thousands of school board members. These are only a few of the accomplishments of the band as it thrived through the ‘80’s, 90’s and into the 21st century.
In 1997, with enrollment of over 200 students in band, the music department had the privilege of practicing and rehearsing in a new, expanded music facility. The marching band took another major trip in the spring of 1998 to Florida. The band has performed at many venues in the Orlando area seven times, the most recent being in the spring of 2007.
Organization of the Music Program |
1. Board of Education |
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2. District Administrator |
Dr. Michael Kremer |
3. High School Principal |
Joe Frinzi |
4. Associate Principal |
Ronald Schlitt |
5. Music Dept. Chairperson |
David Vandermeuse |
6. Music Dept. Staff |
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7. Band student officers |
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8. Drum Major(s) |
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9. Color Guard/ Flag/ Rifle Captains |
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10. Music section leader |
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Instrumental Music Performing Organizations
Band: Grades 9 – 12 divides into two or three concert groups, depending on enrollment and according to ability level. Freshmen enroll in the Oriole Band. Upper classmen audition in the fall for placement in either Concert Band or Symphonic Band. Students earn one credit for each class. One hour of applied music lesson is required each week by each student. Applied lesson is scheduled during the student’s study time. In the fall, the Concert Band and Symphonic band combine for field marching. All performances are required. The Oriole band joins the marching unit for parade performances.
Jazz Ensemble: Grades 9 – 12 divides into two or three groups according to instrumentation and ability level. Auditions are held in the fall. Instrumentation is limited to trumpet, trombone, saxophone, piano, guitar, bass, drums, and mallets. Jazz Ensemble meets on alternate days throughout the year for ½ credit. Students have a study period on days opposite of rehearsal time. Students must be concurrently enrolled in one of the bands or in orchestra.
Orchestra: Grades 9 – 12. The orchestra meets daily as one large group. The orchestra is augmented by available winds and percussion depending on the needs of the music selected. String students earn one credit for the course; wind & percussion performers earn points toward band awards.
Pep Band: Grades 9 – 12. Pep band is a co-curricular activity open to music students. Students sign up in the fall if interested. They earn points toward awards for participation at basketball and wrestling events. Students must be concurrently enrolled in band or orchestra, and meet all requirements of the co-curricular code.
Music Objectives
 
Cultural objectives: develop music appreciation and performance skills
through the study and performance of music.
Educational objectives: develop interested and discriminating listeners
and provide a well-rounded background in the understanding and
appreciation of music.
Service objectives: Provide color and atmosphere at selected events in the
communify and school.
Personal objectives: Provide all students at Hartford Union High School
an opportunity for valuable use of leisure time, provide an emotional
outlet, and good social experiences as well as to enhance individual
discipline skills.
Why Music? |
Music is Science |
Music is exact, specific. Music demands exact acoustics. A conductor’s full score is a chart, a graph which indicates frequencies, intensities, volume changes, melody, and harmony all at once, and with the most exacting control of time.
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Music is Mathematical |
Music is rhytmically based. It has a basic unit of time which is subdivided into fractions of seconds which must be performed instantaneously – not worked out on paper.
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Music is a Foreign Language |
Most of the terms used in music are written in Italian, German, French, or other symbols. Music notation is certainly not English, but a highly developed kind of shorthand that utilizes symbols to represent ideas. The semantics of music is the most complete and universal language in the world.
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Music is History |
Music usually reflects the environment and times of its creation, often even the country and perhaps ethnic feel of its creator.
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Music is Physical Education |
Music requires complex coordination of fingers, hands, arms, lips, cheek & facial muscles. Music requires exraordinary control of diaphragm, back, stomach, and chest muscles, which respond instantly to the sound heard and the interpretation of the notation by the brain. This is not to mention the physical movements required in marching a two or three mile parade, or performing a halftime show….
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Music is all these things, but most of all, Music Is Art |
Music allows a human being to take all these techniques and use them to create mood and emotion. Science cannot dulplicate this. Call it humanism, feeling, emotion, or another term.
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This is why we teach music |
Not because we expect you to major in music. |
Not because we expect you to play or sing music all your life. |
Not so you can relax |
Not so you can have fun |
But more importantly: |
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So you will be human |
So you will recognize beauty |
So you will be sensitive |
So your life will be enhanced |
So you will have something to cling to |
So you will have more love, more compasison, more gentleness, more good … |
In short: More life! |
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Of what value will it be to make a prosperous living, unless you know how to live? |
That is why we teach music. |
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The Child’s Bill of Rights in Music |
This statement, prepared by the council of past presidents of the Music Educators’ National Conference (MENC), was adopted in 1950 by the MENC Biennial convention.
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Every child has the right to full and free opportunity to explore and develop his capacities in the field of music in such ways as may bring him happiness and a sense of well-being.
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Every child shall have the opportunity to experience music with other people so that his own enjoyment shall be heightened and he shall be led into greater appreciation of the feelings and aspiration of others.
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III |
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Every child shall have the opportunity to make music through being guided and instructed in singing, in playing at least one instrument both alone and with others, and, so far as his powers and interests permit, incomosing music.
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IV |
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Every child shall have opportunity to grow in musical appreciation, knowledge, and skill, through instruction equal to that given to any other subject in all the free publis educational programs that may be offered to children and youth.
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Every child shall be given the opportunity to have his interest and power in music explored and developed to the end that unusual talent may be utilized for the enrichment of the individual and society.
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VI |
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Every child has the right to such teaching as will sensitize, refine, elevate, and enlarge not only his appreciation of music, but also his whole affective nature, to the end that the high part such developed feeling may play in raising the stature of mankind may be revealed to him.
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21st Century Employability Skills |
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Dependability |
Reliability |
Responsibility |
Initiative |
Punctuality |
Attendance |
Willingness to learn |
Willingness to work |
Honesty |
Pride in work accomplishments |
Problem-solving skill |
Appearance, Hygiene, gromming |
Willingness to improve |
Perseverance |
Attitude |
Task completion |
Behavior |
Communication skills |
Planning |
Organization skills |
Respect for authority |
Follow directions |
Interpersonal skills |
Respectful of coworkers |
Quality of work |
Time management skils |
Listening |
Teamwork |
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Music Resource Center |
The music suite has 15 practice rooms. Students have the priviledge of signing in at the beginning of each class period and remain in the music area for the entrie class period. Students with lessons have priority to use practice rooms in order to prepare for their weekly lesson. Other students may use the practice room facilities for practice as they are available. The following guidelines apply to use of the music resource area: |
- Students should practice on their major instrument first, as this is the performance on which the student will be graded each week. Students may practice on a secondary instrument, if permission is granted by the music director. Students remain in the music resource area for the entire period. They are required to sign in on the proper sheet to acount for attendance. Students may work on:
- Applied lesson
- Special problems and skills of performance (ie. Articulation/ tuning/ reed adjustment/ etc.)
- Band or orchestra music
- Special ensembles
- Work with tuner and / or metronome
- Purchase supplies
- Clean & maintain instrument
- Work on homework for other classes
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2. No one is to reserve a practice room for activities other than music practice. The facility is for use by music students to practice their music. Please use the facility for its intended purpose. |
3. No food or drink or candy or gum is allowed in the music facility. |
4. When a director is using a large room as a classroom, students should respect the rehearsal area, and keep traffic in the large room to a minimum. Students should spend the majority of the period in the practice room. |
5. the music resource area is available to students from 7:00 am until 3:30 pm Monday through Thursday, and until 3:00 pm on Friday. Students may use the facility during these times. |
6. Before and after school are good times to purchase supplies and get special help from directors. |
7. Please share facilties during crowded study periods. If you have used the resource center earlier in the day, allow someone else a chance to use the practice rooms. |
8. Use of the computers in the classroom is subject to the same rules and procedures as in the rest of the building. Students are to use computers only for school work, and not personal use. |
Applied Music Policy Band/Orchestra |
In addition to the large group rehearsal, each student is required to take an applied lesson once a week as scheduled. The student is assigned one period to the music room during which time a lesson is scheduled and graded. This weekly lesson grade counts as a major portion of the student's grade for the performing class (up to 50%.) The lesson includes the following: |
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Review the last assigned lesson. |
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Answer questions on problems. |
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Observe playing habits. |
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Check the instrument. |
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Assign new progressive materials to be prepared for the following week. During this hour the student may also prepare for concert music or solos and ensembles. |
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If the student misses a lesson, a grade of zero is recorded as their grade for the week. Excused absences and drop days (when the class period does not meet) will not count against the student's grade. It is the student's responsibility to make up missed lessons. The student should discuss a make-up lesson with their lesson teacher. Teachers will attempt to make up the lesson for a valid reason, if there is time in their schedule to do so. Make-up lessons will not earn full credit. The make-up lesson grade will be lowered one full grade level. A student may only make up one lesson per week. |
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The number of lessons for all students each quarter is determined by the director. |
Challenging Procedures Band/Orchestra |
Initial Note: Placement in music organizations will be through audition. There is no prerequisite to enroll in Orchestra, Jazz Ensemble, Oriole Band, or Concert Band.
Your musicianship can develop only through unrelenting effort. No doubt you have heard the saying “Practice Makes Perfect.” That says a lot, and in very simple terms; but it has quite an important loophole. You see, practice makes perfect only when the practice itself is perfect. Repetition means progress only if it is a repetition of the correct principles. It is for this reason that we need to know the how, what, and why to practice. Study and the incentive of the challenge system will help you.
The philosophy of the challenge system is that every musician deserves the privilege of achieving the highest chair his ability and interest will permit regardless of his grade in school. The interest of all musicians should be to achieve the best quality of musical performance as a group that Hartford Union High School can produce. Therefore, each musician should show pride in seeing classmates excel knowing that a classmate’s promotion may mean a better band or orchestra. It is also important that all students recognize that each student’s performance is vital to the group no matter what chair he/she occupies. |
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Guidelines for Challenges |
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Challenger will request a challenge by signing the posted challenge sheet. You are held responsible for your part on any given day, however we suggest you notify the person you are challenging at least 3 days prior to the challenge.
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Time Rules on Challenging: |
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If the person you want to challenge is already involved in a challenge, you must wait for the outcome of that challenge before you sign the challenge sheet. |
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the winner of a challenge may keep challenging up without delay of time. The loser may be challenged immediately if the same part is involved. |
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Ten school days waiting period for: |
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loser to re-challenge on same part |
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if loser must prepare a different part |
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There will be no challenges between different parts within ten (10) days of a concert. |
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Although we prefer the students to initiate a challenge, the director may audition a section or portion of a section at any time. |
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It is suggested that you notify the person you challenge so that a friendly atmosphere can prevail. Showing pride in seeing others succeed is a mark of maturity and personal integrity. |
Home Practice Checklist
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Use good posture at all times. Practice while sitting part of the time as well as standing. |
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Practice in front of a mirror. Watch embouchure formation, bowing, posture, etc. Watch for any movement of the lips, jaw, chin, proper hand position. |
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Wind players – be sure to have your chin pointed downward, especially if you are a reed player. |
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Reed players: watch your embouchure in the mirror. Be sure the lower lip is not too far in. You should see some red of the lip showing. Keep your chin pointed downward and corners of the mouth firm. |
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Always use a proper warm up routine. This is important for getting the facial muscles warmed and stretched, for intonation, tone quality, and instrument response. |
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Stare each practice with long tones. Watch to correct bad habits of embouchure formation, lip, jaw, chim movement, bowing, hand position, etc. Listen to create a good tone. |
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Count each exercise before you practice. Be sure you understand the rhythms and can count the rhythms properly. Without understanding, you may be practicing incorrectly! |
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Practice the exercises your teacher has assigned until they are prefected. Then go on to the tunes. It is important to practice scales and technical etudes as well as the melodic tunes. |
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Practice difficult parts slowly at first, then gradually faster until they are flawless. |
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Work on expanding your playing range daily. Work to extend your playing range both downward as well as upward. This should help you produce good tone in all ranges of the instrument. With daily practice, this should also help produce clear tone in all ranges. Daily practice helps strengthen the embouchure muscles, and develops the ear to recogize proper pitch and good tone. |
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Always listen to your performance; strive for better tone daily. |
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Avoid careless mistakes while practicing. Insist on playing for perfection. Your next performance will reflect your practice habits. |
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Follow a daily practice routine. Set aside a specific time for practice each day. Build in rest periods during each practice session. Practice several 15 minute periods each day. The rest period during a practice session is important to develop strength and endurance. Organize practice sessions so thay are regular and meaningful. |
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Listen to good recordings by professional performers on your instrument. Try to emulate the tone and performance technique of the professional. |
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Work daily to improve on your weaknesses. Work to improve: |
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Breathing and phrasing |
Articulation |
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Slurs |
Finger technique |
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Tone production |
Expression |
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Range |
Bowing |
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Vibrato |
Intonation |
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Posture & hand position |
Sight-reading |
Rehearsal Procedure |
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Be Prompt --- Early is on time, on time is late! |
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Exhibit self-discipline: no talking when the director is on the podium. |
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Respect and Courtesy – listen when others are talking |
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Rehearsal schedule: arrange music immediately in proper order as outlined on the board. Percussion – obtain necessary equipment for each musical selection. |
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Tune your instrument. Listen carefully and make subtle adjustments to each note during the rehearsal. Blend your sound with the ensemble. |
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Be neat. Keep rehearsal rooms clean. Dispose garbage in appropriate containers. |
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Rehearse as if each performance is a concert. The group performance is only as good as its rehearsals. Each performer is responsible to contribute their part to the whole performance. |
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When rehearsing, stop immediately at the director’s request. |
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Count rhythms at all times. Have a pencil in your music folder to make notation on the music. |
How to Contribute to a Successful Rehearsal |
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Practice your part. Be responsible for details of performance. |
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Play accurately. It will inspire your stand partner! |
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Challenge! Challenging your stand partner will motivate everyone to practice, and result in a better ensemble. |
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Read accurately. Focus on the music performance and instruction from your director. Don’t be the weak link in the chain. |
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Observe markings in the music --- articulations/ dynamics/ expression marks/ key changes/ tempo changes/etc. |
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Listen and adjust your playing to the ensemble. Know where the melody is – don’t cover up the melody. Support harmonic lines with good intonation. |
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Be critical of your performance. Listen and adjust your performance to blend in with the rest of the ensemble. |
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Respond to announcements. Be courteous to those around you by listening to announcements. |
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Be focused during rehearsal. The performance will only be as good as the rehearsals. |
Rehearsal Hints for a Better and Happier Group |
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Always listen while playing. Learn to “sing” through the instrument so that the tone will be beautiful in quality and well in tune. |
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Always be courteous and polite to the director and fellow musicians. Exhibit First Class Behavior. |
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Take proper care of your instrument and uniform. Keep the uniform clean at all times. Brass players keep valves and slides properly lubricated. Brass players must have the necessary mutes. Woodwind players need to keep a suply of good quality reeds – minimum of three – at all times. String players loosen your bow and wipe off the instrument after performance. Clean rosin dust from the instrument. |
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Never carry on discussion during rehearsal or performance. Listen intently when the director is giving instructions. Focus on the director’s gestures during rehearsal. |
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Always work out individual parts in private practice session. Ask for help when needed. Be prepared for the next rehearsal. |
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Ensemble playing should be devoted to musicianship and artistry – not to basics of performance. Practice your part before the rehearsal. |
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Learn the correct fingerings and study fingering charts carefully and accurately. Learn alternate fingerings for ease of performance. Become familiar with commonly used scales, keys, meters. |
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Exhibit good posture at all times. For brass and woodwind players, air control is the very ‘soul’ of tone. Only with correct posture and breathing can the player hope to provide the amount of air and control necessary for good tone production. Feet should be flat on the floor; back should be straight. Crossed legs look out of place and can hamper correct breathing. Strings and percussion players shold also use the proper postrue for performance on their instrument. Good posture enhances good technique and good performance. |
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Follow an accurate, definite system of counting rhythms. Only by using such a system can rhythm patterns be performed correctly. Counting time iss the foundation of accurate rapid sight reading. |
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Refrain from beating time at a concert --- don’t tap your foot at a performance. |
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Equipment Furnished by the Students |
Uniforms (Band) |
Black, Oxford style shined shoes (tie type), black socks, belt. Athletic style shoes are not appropriate. |
Care of Band uniforms |
A band uniform will be supplied to each band student at the beginning of the school year. Students are expected to keep the band or color guard uniform clean, dry and pressed. Damage to the uniform and accessories beyond normal wear, or loss of the uniform will become the parents’ financial responsibility. Uniforms should be stored in the garment bag at all times, except if wet. Uniforms are made of a durable, woolen blend fabric. If wet, the uniform must be allowed to dry out in the open air. The complete uniform, including hat, will be stored at home. Students must take unforms home following performance. When uniforms must be cleaned, please dry-clean only – never place in a clothes dryer.
Students should inform the band director when they need to be refit for a different uniform. |
Orchestra Performance Attire: |
Girls: White blouse, black skirt or slacks, black shined shoes, nylons.
Guys: White shirt (collar style – short or long sleeve), black trousers, belt, black socks, black shined shoes. |
Instrumental Accessories |
Reeds, swabs, drum sticks – plus wire brushes, rosin, mutes, lyres are some of the required materials for the class. Reeds and accessories are available for students to purchase in the instrumental music office.
Required accessories will vary with the performance class enrolled in. |
Music |
Solo and ensemble music, applied lesson books, lost music and folios will be billed to the student. |
Students may rent these instruments from HUHS music dept. Instrument rental is due the first week of school, Rental is $25.00 for the year. |
- Bassoon
- Oboe
- Viola
- Bass clarinet
- Tenor saxophone
- French Horn
- Percussion equipment
- Baritone horn
- Tuba
- Cello
- String Bass
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Students are expected to furnish these instruments: |
- Flute
- Bb soprano Clarinet
- Alto Saxophone
- Trumpet
- Tenor Trombone
- Violin
- Viola
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Field Trip Regulations |
The student must ride the school bus unless parents personally request that they ride with them. Students will make arrangements to be picked up at the announced time of return to school. If not riding the bus a written parent request verifying transportation should be filed in the Music Department office three (3) days in advance. This request will be approved by the principal through the Music Department Chairman.
When we make an over night trip a complete itinerary will be published; including time schedules, specific personal needs, code of conduct, etc. Everyone is bound to the schedule at all times.
Trip performances are offered periodically, contingent upon student interest. A commitment/permission slip signed by both student and parent must be submitted. Students will then be held to their commitment just as the band as an organization is held to its performance commitment. Periodically students will be required to perform as a group during the school day. As an example, a Jazz performance at a local school or business. Such performances do not require permission slips. All students are expected to attend required performances with their respective groups. |
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