Melody For All: A Different Approach to Teaching Phrasing

Mike Lawson • Choral • July 5, 2019

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During my first semester in college, my studio teacher gave me what seemed like an insurmountable amount of technical studies to prepare for every lesson, which was a challenge that I absolutely relished.

Being able to play rings around everybody else was certainly on my mind as an ambitious freshman trumpet player (as if that was all there was to it).

In my second semester, however, he tacked on some simple melodies in the back of the Arban Method for each lesson as well, saying, “I think it’s about time you learned how to play a melody.” Of course, I thought I already did… Boy, was I in for an education! Thanks to him, I was initiated into my first truly detailed study of music.

It’s About More Than Just Good Phrasing

One of the most important concepts we try to teach our ensembles is to play with good phrasing, but we often become frustrated when we don’t hear our groups playing phrases consistently. I believe that part of the reason for this can be traced to our students’ first experiences with full ensemble music. They may be unconsciously making a distinction between that music and the material in their lesson books, which is naturally almost 100% melodic in focus.

You can’t really blame them. It’s hard to convince a young trombone player playing whole and half notes all day long, or alto sax and French horn players with an awkward middle voice part that sounds weird, that they actually have a melody of any kind. And, to be honest, if we’re not careful, we directors can relegate phrasing pretty far down our priority list when rehearsing (guilty as charged). After a few years of playing Grades 1 to 2. Ensemble music with little or no attention to melodic playing, it becomes even harder to get good musical phrases out of them when they are in an ensemble capable of playing Grade 3 music and above.

Don’t Get Caught in the Melody vs. Non-Melody Trap

We all know that for an ensemble player of any age, playing a good phrase requires knowing what the melody actually is, who plays it, and how their part relates to it. I think too many directors get caught in the “melody vs. non-melody” trap while teaching phrasing, and are in fact unwittingly telling their students that when their part is not the melody, their sounds must stay “out of the way,” which actually encourages them to deemphasize the importance of their parts.

Teach Your Students That Every Part Is Melodic

I believe part of the answer to effectively teaching phrasing lies in approaching everyone’s part as melodic in nature. Realizing that sometimes they may have the “primary” melody, a “secondary” melody, or even a “background” melody of some sort helps them find their place in the musical texture. Using this approach, every member of the ensemble is focused on melodic playing, and is instinctively trying to phrase it musically, which gives the director something audible to work with, as in, “Hey trombones— did you hear how the euphoniums played the part you share? That’s how I want you to phrase it.”

Approaching musicality and phrasing with everyone understanding their part as a form of melody can foster better musicianship. It also teaches students to be more creative musicians and “think it” before they play it, which is a far more gratifying artistic result for both the director and their students!

Composer-conductor Todd Stalter is currently the director of bands at Eureka High School in Eureka, IL, and serves as chair of the department of fine arts for CUSD #140. At Eureka, he directs all components of the high school band program in addition to teaching general music grades K-4, and 5th and 6th grade brass and percussion lessons and technique classes. Stalter is one of the chorale authors for Alfred Music’s Sound Innovations: Ensemble Development series.

Sound Innovations: Ensemble Development is a complete curriculum to help beginning through advanced band students grow as ensemble musicians. It thoroughly complements and supplements performance music while breaking down each ensemble concept and preparing students to be ready for any scenario in their repertoire. Learn more at

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