REHEARSING CRITICAL CONNECTIONS FOR THE INSTRUMENTAL MUSIC CONDUCTOR phiad mateRehearsing Critical Connections for the Instrumental Music Conductor John F. Colson ROWMAN & LITTLEFIELD Lanham * Boulder * New York * LondonPublished by Rowman & Littlefield A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 Unit A, Whitacre Mews, 26-34 Stannary Street, London SEI! 4AB Copyright © 2015 by John F, Colson Alll rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Colson, John F Rehearsing : critical connections for the instrumental music conductor / John F. Colson. pages cm Includes bibliographical references and index: ISBN 978-1-4422-5078-9 (cloth : alk. paper) — ISBN 978-1-4422-5079-6 (pbk. paper) — ISBN 978-1-4422-5080-2 (ebook) 1. Conducting. 2. Music rehe Instrumental music—Instruction and study. |. Title. MT85.C74 2015 784.144-de23 2015007645, em The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO 239.48-1992, Printed in the United States of AmericaConnection 1 Connection Connection 3 Connection 4 Connection Connection 6 Connection 7 Connection § Connection 9 ~ Contents Preface Acknowledgments Conducting and Rehearsing The Right Hand versus the Left Hand Music Imagery, Inner Singing, and Conducting Technique Score Study, Rehearsal Planning, and Rehearsal Preparations Instrumental Pedagogy During the Rehearsal Process Watching and Listening by the Ensemble Listening and Musical Sensitivity by the Conductor The Us Rehearsal Pacing of Rehearsal Time and Multitasking and Awareness in the Rehearsal Processvi ~* Contents Connection 10 Conductor Demonstrations, Modeling/ Imitation, and Feedback Connection 11 The Communication: Conducting, Verbally and Musically Connection 12 The Essence and Spirit of the Music Connection 13 “Words to Live By” Connection 14 Re-Hear-Sing Connection 15 Teaching through Performance Concepts Connection 16 Symphony Orchestra, Concert Band, and Smaller Ensembles Connection 17 “Think Musically ALWAYS!” Connection 18 — Trust and Leadership The Coda: Connecting the Conductor Competency Chain Appendix A: Conducting/Rehearsing Projects for the Rehearsal Process Lab Environment Appendix B: Equipment Needed in the Rehearsal Process Environment Appendix C: A Continuum for the Advanced Instrumental Music Conductor Appendix D: Video Creation and Reviewing Instructions Appendix E: Videographic Scenarios and Teacher Assessment Bibliography Index About the Author 187 213 223 243~ Preface The reason that rehearsing is the missing link is because too much time is taken up with the conducting technique! Certainly the conducting tech- nique is very important. However, it is assumed by the conducting teacher that the advanced conductor knows how to rehearse the instrumental music ensemble. Unfortunately, this is not necessarily true, especially for the ad- vanced conductor who does not really understand how to proceed before, during, and after the rehearsal process. So the missing link of rehearsing then impacts in two ways: (1) the conducting teacher does not spend sufficient time on the rehearsing aspect in the conducting class, and (2) the advanced conductor, therefore, has little or no guidance from the conducting teacher about how to rehearse the instrumental music ensemble. ‘The point of this book is that the conductor competency chain is mis ing an important link, mostly because this “rehearsing” is not addressed ia the education and training of the advanced instrumental music conductor. Therefore, | am trying to write this book so that the advanced conductor does have some guidance in how to rehearse the instrumental music ensemble If the advanced conductor reads this book and makes a sincere effort to im- prove the rehearsing aspect, he or she should become a competent conduc- tor, and the missing link will then be added to the conductor competency chain. Consequently, there are many aspects that have not been covered in the education and training of the advanced conductor beyond the conduct- ing technique. There are so many important things that do not get taught or emphasized in the conducting classes. In particular, the advanced conductor viiviii Preface receives hardly any instruction concerning just how to actually rehearse the instrumental music ensemble, or has little opportunity to stand in front of an instrumental music ensemble and conduct and rehearse. The advanced conductor needs to have “podium time” to perfect the many aspects of conducting and rehearsing the instrumental music ensemble. Subsequently, the advanced conductor has had good instructions and background in terms of the conducting technique, but very little conceming what should happen during the rehearsal process. There has to be a whole lot of planning and preparations before the rehearsal process ever begins! Of course, score study is the most essential in order to be effective in the rehearsal process environment. More will be said about this in Connection Three and Four below. Therefore, if the advanced conductor does not have a rehearsal plan and schedule, there is little chance of having an effective rehearsal process. I have written this second conducting book in order to emphasize the idea that we are not educating or training the advanced conductor to be ready to stand in front of an instrumental music ensemble and conduct and rehearse the ensemble properly. This should be done in the conducting curricu- lum so that there is a connection between the conducting and the rehearsing. If we depend on the music education curriculum to do this rehearsal training, then there is this disconnection between these two areas of study. So the following critical connections cover these important preparations before, during, and after the rehearsal process. The missing link of rehearsing is caused by this lack of education and training of the advanced conductor about the rehearsal process environment. What actually tends to happen is that the conducting teacher never gets around to the rehearsing aspect, and assumes then that the advanced conducting student will somehow figure all of this out on their own. Yes, there should be some creativity involved with the advanced instrumental music conductor that will be needed here, but there should be guidance as to what will be going on before, during, and after the rehearsal process. There are effective ways and less effective ways to do this. These eighteen critical connections emphasize certain study areas of the instrumental music rehearsing process for the advanced conductor. Below, I have summarized these connected study areas as an introduction to this book. These connections may be read in any order desited by the advanced conductor. However, this book represents a series of critical connections that are geared toward these verious study areas for use asa textbook with the advanced conducting and rehearsing courses. I began to realize this eriti- cal connections approach to the instrumental music rehearsal process after having written my previous book entitled, Conducting and Rehearsing thePreface ~ ix Instrumental Music Ensemble: Scenarios, Priorities, Strategies, Essentials, and Repertoire. The idea is that there are certain connections between the vari- ous areas of study that need to be confirmed for the advanced conductor. | felt that there needed to be this additional information and the expansion of this information about these various connections to help the advanced conductor during the instrumental music rehearsal process in order to be successful as an instrumental music conductor. Some of these connections may be a “surprise” to many conductors, but I hope that all of these connections will provide some information that is of real and lasting value for the advanced instrumental music conductor. Here are the eighteen connections and coda summaries for this book: Connection One: Conducting and Rehearsing The conducting and rehearsing connection will certainly help during the education and training of the instrumental music conductor. Having taught instrumental music conducting for thirty-eight years, I realized that these two areas of study should not be separated. Unfortunately, many conducting study programs do try to separate these and/or pay little attention to the rehearsing aspect of this preparation. Consequently, the rehearsing preparation for the ad- vanced instrumental music conductor is definitely neglected for the most part. Connection Two: The Right Hand versus the Left Hand Here, there is a real problem that needs to be emphasized. We spend a great deal of time in the initial conducting class learning the conducting patterns and gestures, and these are important. However, after this beginning con- ducting class, the left-hand use with the conducting technique seems to get ignored by both the advanced conductor as well as by the conducting teacher. Yet, this is an extremely important part of the conducting technique that needs to be fostered. Much of the musicality during the rehearsal process and the concert performance should be shown with the left hand! Connection Three: Music Imagery, Inner Singing, and Conducting Technique There is a great connection here between music imagery, inner singing, and the conducting technique. If the conducting technique is solid and auto- matic, then the inner singing is the guide to the musical performance. This alonex ~ Preface should give confidence to the advanced conductor in terms of the musicality being produced. [f the conductor does not do this inner singing, then there is little or no connection made between the music and the conducting tech- nique. Unfortunately, many conductors do not use inner singing in either the rehearsal process or the concert performance. Connection Four: Score Study, Rehearsal Planning, and Rehearsal Preparations We all know how important careful and thorough score study is in prepar- ing for the rehearsal process. What seems to not be happening is rehearsal planning and rehearsal preparations, which are such important parts of the rehearsal process environment. After score study, we are only partway there, because the planning and preparations for the instrumental music rehearsal process have not been done. What we need to do now is to plan and prepare for the rehearsal process in terms of what and how to rehearse the ensemble during the rehearsal process. We need a rehearsal plan and schedule. The advanced conductor should also see that the rehearsal facility is ready and that the music and needed equipment are in place. (See appendix B.) Connection Five: Instrumental Pedagogy During the Rehearsal Process For the advanced conductor, it is easy to forget about what was learned in the instrumental pedagogy classes concerning the various instruments of the ensemble. This aspect of rehearsing is crucial during the rehearsal proces and especially with the educational ensemble, which needs this pedagogical information in order to perform better. This pedagogical information tends to be ignored by the advanced conductor during the instrumental music rehearsal process. Emphasis needs to be placed on this instrumental music pedagogy during the rehearsal proce Connection Six: Watching and Listening by the Ensemble The watching and listening by the instrumental music ensemble is frequently taken for granted by the advanced conductor. This is very unfortunate, be- cause the ensemble cannot play together or play with any musical sensitivity if they are not watching the conductor and listening to the rest of the en- semble. The advanced conductor should stress the ideas of watching and listeningPreface ~' xi during the rehearsal process. During the rehearsal process, many of the activi- ties must be geared toward these two ideas of watching the conductor and listening to the test of the ensemble. Connection Seven: Listening and Musical Sensitivity by the Conductor The advanced conductor during the rehearsal process should listen to the ensemble in order to correct errors and solve problems. This acute listening by the conductor is what the rehearsal process is really all about. Otherwise, the ensemble will not progress technically or musically. The musical sensitivity of the advanced conductor should be such that the players can imitate this musical sensitivity in their performance. If not, the performance then will lack this important musicality aspect. Connection Eight: The Use of Rehearsal Time and Rehearsal Pacing Much rehearsal time is wasted because of the lack of conductor score study, planning, and preparations before the rehearsal process begins. Only if the conductor prepares well, will the rehearsal process be productive. Also the pacing of the rehearsal is so very important to the success of the rehearsal process. Every conductor will need to find the proper pacing for the particu- lar ensemble. This is a difficult situation to evaluate specifically. However, the main consideration has to be to keep the rehearsal process moving forward. Connection Nine: Multitasking and Awareness in the Rehearsal Process Multitasking is a necessary part of the reheansal process. The rehearsal process is a very intense time in that the conductor should be prepared in many ways for the instrumental music rehearsal process. Much of this is done in the ac- tual preparation before the tehearsal process begins. There is never enough rehearsal time, so the conductor should not waste the rehearsal time because of the lack of this preparation. I have tried to explain with this particular connection what needs to be done in the planning and preparation for the rehearsal process, Multitasking and awareness will be easier for the advanced conductor if the necessary planning and preparations are done before the rehearsal process ever gets started!xii Preface Connection Ten: Conductor Demonstrations, Modeling/Imitation, and Feedback Probably, in rehearsing the instrumental music ensemble, some rehearsal time should be spent with conductor demonstrations. The advanced conductor should be prepared to execute these conductor demonstrations effectively. The modeling and imitation connection and the approach to rehearsing are very important segments in the rehearsing of the instrumental music ensemble. Whether the conductor of a selected player(s) does the modeling has to be up to the conductor. The ensemble should be aware that when the modeling is being executed, the players should listen carefully to the model, so that these players who are involved can then imitate this model correctly. This modeling and imitation can be a very effective procedure during the rehearsal process. The feedback to the ensemble is absolutely necessary for the conductor to provide. Connection Eleven: The Communication: Conducting, Verbally and Musically The communicating through conducting verbally and musically in the re- hearsal process is where many conductors find that they are ineffective. Until the conductor begins to rehearse an ensemble, he or she does not realize what is really involved here. The conductor during the instrumental rehearsal process must do most of this so-called communication. This communication with the conducting technique is done visually. Verbally, the conductor should be prepared with teaching strategies to correct errors and improve the per formance level of the ensemble. Musically, there are many things with both the conducting technique and the rehearsing that come into play here. With Connections Eleven, Twelve, Thirteen, Fourteen, Fifteen, and Seventeen, I have tried to present some ideas and concepts that will be of value for the advanced conductor in this regard. Connection Twelve: The Essence and Spirit of the Music The essence cad spirit of the music are very important ideas for the conductor to grasp curing score study and before the rehearsal process begins. The essence of the music is the basic part of the music. Is it a waltz, a scherzo, a tango, or a march? This essence should happen at the very beginning of the piece as well as throughout the entire piece. Secondly, the spirit of the music has to do with the tempo and mood of the piece. Is the tempo fast ot slow? Is the mood brilliant or quiet? Is the passage staccato or legato? These questions should be answered in order for the advanced conductor to bring out this essence and spirit of the music.Preface xiii Connection Thirteen: “Words to Live By” This is an attempt to have the conductor not talk so much in the rehearsal process. Generally speaking, many conductors spend way too much time dur ing the rehearsal process talking. The result is a waste of valuable rehearsal time. There should be more time spent singing, demonstrating—through the modeling and imitation procedure by the conductor or the player—and ia the conductor feedback, and less time talking. What I have tried to do is list words that can be used by the conductor in order to eliminate this verbosity during the rehearsal process Connection Fourteen: Re-Hear-Sing The word re-hear-sing can be a wonderful guide for the conductor in thet this broken-up word can remind the conductor about the main activities in the rehearsal process. Re says that we will constanily repeat passages until they are correctly played. Hear tells the conductor that he or she should listea during the rehearsal process in order to correct these errors and solve these problems—and we do that with our “cars.” Likewise, the players should also listen to what is happening in the rehearsal process. There are many aspects with the word sing involved in the rehearsal process. The conductor should use inner singing. The pleyets should “sing through their instruments.” Connection Fifteen: Teaching through Performance Concepts These concepts need to be connected with both the technical performance and the musicality areas during the rehearsal process. These teaching and rehearsing concepts melt together in the rehearsal process. The rehearsing and performance concepts are likewise brought together during the rehearsal process. These connections are all about the various kinds of conducting, rehears ing, and the other musical activities that are initiated by the conductor during the re hearsal process. In the rehearsal process, the conductor should teach through these performance concepts. Connection Sixteen: Symphony Orchestra, Concert Band, and Smaller Ensembles ‘Thir connection haytodowiith howto proceed wlthconducting and! rcheare- ing in both the classroom situation and the rehearsal process (lab) environ- ment. Within these two environments, there will be conducting students withxiv 1 Preface various career paths. Therefore, the conducting teacher should bridge these career paths in the classroom and during the rehearsal process (lab) environ- ment. This is why the instrumental music pedagogy classes should cover all of these instruments in the orchestra and band, as well as with the various smaller instrumental music ensembles. Connection Seventeen: “Think Musically ALWAYS!” This connection is not concerned about any one particular connection, but acts as a summary for all of the other connections in this book. | have tried to organize this book so that these connections do not need to be read in any order. Rather, these connections stand by themselves and are especially concerned with what the conductor does during the instrumental music rehearsal process. The Dr. John Paynter idea of “Think Musically ALWAYS” is a wonderful philosophy to adopt for the advanced instrumental music conductor in that it defines these important connections. Connection Eighteen: Trust and Leadership My concern for the advanced instrumental music conductor is that there may be some obvious weaknesses on his or her part as to what is happening during the instrumental rehearsal process. Therefore, the conductor should make every effort to strengthen these important aspects in the conducting and rehearsing of these various music ensembles, and in order to help the ensembles to present more outstanding musical performances. This conduc- tor’s guide is aimed at the advanced conductor who has, perhaps, had minimal training in terms of how to proceed before, during, and after the instrumental music rehearsal process The Coda: Connecting the Conductor Competency Chain Here, the conductor competency chain, in a sense, is now connected to the rehearsing link of the instrumental music ensemble to produce and affect the advanced conductor into being a competent instrumental conductor in the rehearsal process environment. Now the advanced conductor has the tools 10 produce an instrumental music ensemble that has the “Wow” factor! So you can see that the rehearsing of the ensemble is such an important part of being successful as an instrumental music ensemble conductorPreface 1 xv Summary What | have tried to do in this book is to cover the necessary items in the conducting and rehearsing of the instrumental music ensemble within the re- hearsal process environment. Especially, | have attempted to cover those areas of siudly that may have been neglected in the preparation of the advanced instrumental conducting student. This book could be used as a supplementary textbook ia the advanced conducting courses or as the regular textbook in various con- ducting and rehearsal technique courses offered at the collegiate level. With the items at the end of each of these connections, [ have supplied some class discussions/activities for the advanced conductors that are related to these specific connections in the instrumental music rehearsal process. Also, 1 have listed some repertoite (see appendix A) that could be used in order to give the advanced instrumental music conductor an opportunity to stand in front of an ensemble and conduct and rehearse. The rehearsing aspect should not be neglected! Therefore, the rehearsing aspect should represent a large part of the time spent in the advanced conducting courses, because this is what is needed in developing these various connections as a conductor I wish you all the very best performances.Copyrighted material~ Acknowledgments To my family: They have been so supportive as | have been writing these two books. My main goal has been to write these books with the idea of helping the advanced instrumental music conductor to improve the conducting and rehearsing of the instrumental music ensemble within the rehearsal process. Thave tried to include most of the knowledge and background that I have gained through my own educational background and practical experience in the conducting end rehearsing of instrumental music ensembles for well over a half century! My family has heen the great joy of my life! To my various conducting teachers: | would not have written these two books without theit invaluable information and gracious cating: Anne Forbes: I started my conducting study with Anne Forbes when in high school. | entered several conducting competitions at that time. This gave me the opportunity to hone my conducting skills early. William Gower: Professor William Gower Sr. was my conducting teacher and trumpet teacher before and during my undergraduate years at the Uni- versity of lowa. James Dixon: Professor James Dixon was my graduate conducting teacher and the orchestra conductor at the University of lowa. He was a protégé of Dimitri Mitropoulos (New York Philharmonic Symphony Orchestra) and was also the conductor of the Quad City Symphony Orchestra for twenty- nine years xviixviii, + Acknowledgments Dimitri Mitropoulos: | was fortunate to rehearse and play under Maestto Dimitri Mitropoulos on several occasions at the University of lowa. This was a real learning experience for me in being able to watch this mzestro at work. Piero Bellugi: He was the conductor and music director of the Tri-City Symphony Orchestra, in which I played trumpet professionally for eight years. He continued to successfully conduct orchestras and operas for many years in Europe. Dennis Russell Davies: He was the conductor and musical director of the Saint Paul Chamber Orchestra. I helped establish a residency at South Dakota State University, whereby the Chamber Orchestra was on campus for several days each year for three years. Each residency included open re- hearsals with Maestro Davies and the Saint Paul Chamber Orchestra. What a wonderful learning experience that was! John P. Paynter: I worked closely with this gentleman and conductor on numerous occasions and felt that this was an education within itself. [ refer you to Connection Seventeen: “Think Musically ALWAYS!” To Bennett Graff, senior acquisitions editor, and Monica Savaglia, assis- tant editor, at Rowman & Littlefield Publishing Group, and to their staff for the wonderful continued advice and expertise during this publication process.CONNECTION ONE ~ Conducting and Rehearsing Conducting and rehearsing—you can’t have one without the other! This connection is inevitable. Many college curricula try to separate these two items by offering separate courses in conducting and in rehearsing. This does not really work. You cannot rehearse without conducting and you can- not conduct without rehearsing (except during the concert performance) Conducting is rehearsing and rehearsing is conducting! This is why the whole rehearsing aspect should be in the conducting curriculum. If the rehearsing aspect is not included in the conducting curriculum, where will the advanced in- strumental music conductor receive this kind af information and/or gain the experience in the rehearsing aspect? The answer is “only through practical experience in front of an ensemble later on.” Will this be adequate? I do not think so! In many cases, the rehearsing aspect has been left up to the music education curriculum. The music education curriculum is interested in the teaching of students, but not necessarily in that of the ensemble rehearsing environment. Likewise, if the student is enrolled in the music education curriculum, the rehearsing aspect will not be included in the education or training of the conducting students (until they get to the student teaching or the internship)! The results of this kind of education and training will then depend mostly on a high school conductor, who in most cases has had little background in the areas of actually teaching either conducting or rehearsing The point to be made here is that by separating these two courses into conducting and rehearsing, you begin to isolate these two activities within2. ~* Connection One the rehearsal process. But in essence and in actual practice, these two areas cannot be sepz for the most part, the music education atea is more interested in the teach- ing of students rather than the actual rehearsing (and conducting) of the instrumental music ensemble. Also, ifone is not in the music education cur- riculum, one then misses out completely on this information, unless it is somehow then covered in the conducting curriculum Consequently, seldom is the student given much, if any, opportunity to stand in front of an ensemble and rehearse. Therefore, the rehearsing aspect should be included in the conducting curriculum! However, if you watch what happens in the conducting curriculum, in many cases, there is also little opportunity given to the conducting student to do this rehearsing even here. Most of the emphasis is on the conducting technique, not on the rehearsing aspect. This leaves the advanced conducting student to gain these rehearsing skills after completing their formal education and training in college as to how to rehearse the instrumental music ensemble and, therefore, how to become a competent instrumental music conductor. In the rehearsal process, the conducting is a part of the rehearsing and the rehearsing is a part of the conducting. These two areas simply should not be separated in any sense. In the beginning or initial conducting course, there should certainly be an emphasis on establishing and developing the conduct- ing technique with the patterns and gestures. These patterns and gestures need to be practiced until they become very automatic (that is, until there rated in the rehearsal process. The problem with this is that, is not much thought given in their execution). Then as the following con- ducting courses appear, there should be an emphasis placed on the rehearsing aspect as well as the conducting aspect. This is where these two elements of conducting and rehearsing should then come together @s ane. There seems to be some reluctance on the part of the conducting teacher to be concemed about the rehearsing aspect. Rather, sort of through osmosis, the conducting teacher assumes that if the conducting student can conduct the selection, they can also rehearse the work through their previous background in music. This does not really equate for most of the conducting students. There is a lack of background as to how to proceed in the rehearsal process. Some conducting teachers defend this by saying that there is not enough time in the conducting courses or in the conducting curriculum to include the rehearsing aspect. That is why I am writing this book in order to include this informa- tion about the rehearsing aspect and the importance of thinking about the conducting and rehearsing aspects as a combination of these wo activities. Finally, in terms of the rehearsal training within the conducting curticu- lum, a practicing conductor should certainly be teaching this important rehearsingConducting and Rehearsing 1 3 aspect. If this rehearsing aspect is relegated to the music education cur- ticulum, then the chances are slim to nothing that the conducting student will have the opportunity to stand in front of an ensemble and conduct and rehearse during these various preparatory courses. Do you see why these rehearsing courses should be in the conducting curriculum? So where do we go from here? The following connections will summarize the answers to these questions: I have tried to cover what I call “critical connections” in the rehearsing of the instrumental music ensemble. These critical connections represent a lifetime of conducting and rehears There is a common thread to all of this in the sense that the instrumental music conductor must be both a musician and a leader. Standing in front of a music ensemble has some awesome leadership responsibilities. The instru- ing various instrumental music ensembles. mental music conductor should be well trained in what he or she is hired to do. First, the musicianship training should be solid and extensive through the performance on a chosen instrument and with performances in quality ensembles. The teacher of this musicianship training should be competent in order to show this musicality to the student and, thereby, pass this on to the conducting students. Secondly, the leadership aspect should be such that the task at hand is done in a way that gains the respect, credibility, and competency for the conductor by the ensemble. More will be said about this leadership aspect later on. As a conductor of an ensemble, you are expected to be able to conduct and rehearse the ensemble in order to present both a clean and a musical performance. This would seem obvious, but this does not happen too often. One hears meny performances that make one wonder if very much rehearsing had been done or if the poor conducting technique had interfered with that of the performance. This involves the idea that the conductor should confront the problems within the ensemble rehearsal process and offer solutions to these problems along with competently conducting the ensemble. There are also many other duties connected with being a competent conductor and leader of an instrumental music ensemble. Many of these duties involve the follow- ing critical connections as well. Let us take a microscopic look as to what should be happening in terms of the conducting and rehearsing ia the instrumental music ensemble rehearsal process. First, the conducting technique should be scrutinized as to the ef- fectiveness of leading these various ensembles. Are the patterns and gestures executed clearly? To 2 great extent, the problem may be that the conduc- tor’s position and stance need some adjustments. It may also be a problem of holding the baton and the combined motion and position of the right hand,4. —~ Connection One the left hand, the wrists, the forearms, the elbows, and the upper arms. | have seen this cause prevalent problems with many conductors. This includes not only young conductors, but also the experienced conductors who have de- veloped bad habits over the many years of conducting and rehearsing. There is also a natural tendency for the right hand to be twisted on certain specific beats within the patterns. This causes the placement of the ictus to become confusing for the players. For the most part, the right-hand palm should be parallel to the floor; otherwise the conducting motion to the ictus becomes unclear. There may be some exceptions to this rule while showing various musical expressions, but in general, for clarity, this right-hand rule will keep the patterns clear and precise. The conducting plane should be well established so when the players look toward the conductor they can clearly observe where the ictus falls. On this same basis, it is important for the conductor to develop these pat- terns so there is flow between the beats. In this way, the players are able to anticipate where the next beat will fall. This means that these conducting patterns and gestures are fluid as presented. These items are all a very impor- tant part of the conducting technique! The advanced conductor should depend strongly on the conducting technique throughout the rehearsal process. Although this is a brief look at the right hand and left hand in conducting, there are many detailed reference books available to be considered and stud- ied in order to arrive at an acceptable position and motion with the right hand and arm and the left hand and arm. Now turning to the left hand and arm in conducting, the problem is that most conductors end up simply mirroring the right hand and arm with the left hand and arm. This, of course, limits what the left hand and arm can show that is different from the right hand and arm. The left hand and arm should show many other things besides what the right hand and arm are doing! For example, the left hand and arm can show the crescendo, diminuendo, ac- cents, cutoffs or releases, phrasing, style, and many other items that the right hand and arm may or may not show. If the conductor has been mirroring the right hand and arm on a regular basis with the left hand and arm, then there will need to be considerable remedial work done by the conductor to change all of this. When the left hand and arm are not being used for a specific purpose, the left hand and arm should be in a “teady” position in front of the conductor's body (not hanging down at the side). Connection Two (The Right Hand versus the Left Hand) addresses more of these prevailing conducting problems. Before leaving the conducting aspect, let us consider how this conducting connects with the rehearsing of the instrumental music ensemble. It is impossible to predict the importanceConducting and Rehearsing 15 of the conducting technique as compared to that of the rehearsing skills. However, both of these elements are absolutely necessary in leading an instrumental music ensemble competently and in producing good results There are moments in the rehearsal process when one of these elements takes precedence over the other. This is why there are these critical connections between that of the conducting technique and the rehearsing skills! The rehearsing element is found in both the conducting technique and the rehearsing of the instrumental music ensemble, and this is the reason why the conducting and rehearsing cannot be separated in the rehearsal pro- cess, Much of what is done in the rehearsal process of the conducting technique and the rehearsing skills. When it is necessary to stop and fix a problem in the rehearsal process, this is where the actual involves the alternation rehearsing “kicks in.” What is important here is that the conductor should immediately indicate what the problem is and how to solve this problem so that the rehearsal does not lose momentum from having stopped the en- semble during the rehearsal process If the conductor cannot quickly solve the problem, then it may need to be delayed until the next rehearsal process. [n the intervening time, a solution should he devised to solve this problem. It is also very important to realize that conducting is rehearsing. If the conducting technique is adequate to good, then the conducting technique can also solve and/or avoid problems that might otherwise occur in the rehearsal process. Finally, the success of the rehearsal process is dependent on the score study, the planning, and the prepara- tions by the conductor before the rehearsal process ever begins. The conducting and rehearsing should both be done during the rehearsal process. Therefore, the conducting technique and rehearsal training for the conducting student should also be together as much as possible. The training of the instrumental music conductor is critical to his or her future success! Separating these two elements simply makes no sense. This is the reason that in the training of the instrumental music conductor, the conducting teacher should create a rehearsal process (lab) environment to provide the conducting student with the oppor- tunity to stand in front of an ensemble and conduct and rehearse. This may involve considerable work on the part of the conducting teacher to establish this rehearsal process lab environment, but it means everything for the con- ducting student. (See appendixes D and E.) This opportunity gives the student conductors a chance to see how ef fective or ineffective they are presently. The conducting teacher should then critique each student with some written comments as well as verbal comments following the tehearsal process lab environment I think there is minimal teaching and leaming going on when the conducting teacher stands6 ~ Connection One in the front or back of the rehearsal hall, and simultaneously gives instruc- tions to the student conductor while he or she is conducting or rehearsing. Many conducting teachers try to “interrupt” the rehearsal process and make comments at the moment of a conducting or rehearsing problem. I feel that this is quite ineffective for both the conducting teacher and the conducting student, not to mention the players in the various ensembles. So this means that the student should be videotaped in order for the conducting teacher to thoroughly critique the student following the rehearsal process lab environment The conducting teacher should then meet with the individual conducting student to show the video to the student and critique the student as to the means for improvement. It is also very helpful then for the conducting stu- dent to have access to this executed taped performance done in front of the instrumental music ensemble after the rehearsal process lab environment. (Make it a requirement for the conducting students to purchase SD cards for their use in filming.) Perhaps, the first few times the conducting student is in front of the ensemble, allow the student to mainly conduct the ensemble in order to gain the confidence needed with the conducting technique. Later on, however, the conducting student should then be charged with both the conducting and the rehearsing of the ensemble. In this rehearsing situation, it might be feasible for the conducting teacher to “interrupt” the proceedings when a rehearsal problem needs to be resolved within the ensemble. In preparation for conducting and rehearsing the instrumental music ensemble, there should be considerable discussions and demonstrations between the conduct- ing teacher and the conducting students within the conducting classroom about the various aspects of conducting and rehearsing the instrumental music ensemble. This also assumes that the selection being rehearsed by the stu- dent conductor has been proceeded with careful and detailed score study, as well as conceiving a rehearsal plan and schedule, and the designing of some teaching strategies about where, what, and how the ensemble should be rehearsed by the conducting student. (See appendix A for the repertoire assignments within the rehearsal process lab environment.) Discu: ‘ion/Activities in the Conducting Classroom with the Advanced Conductor 1. Discuss in class why the conducting and rehearsing should be together in the conducting curriculum. 2. If the rehearsing aspect is relegated to the music education curriculum and culminates in the student teaching or internship, what is wrong with this situation?9. 10. 13. 14. Conducting and Rehearsing —~ 7 The emphasis seems to he on the conducting technique with the ad- vanced conducting student rather than on the rehearsing skills in the conducting curriculum. What could be changed here? What kind of conducting technique activities should be shown in the rehearsing of the instrumental music ensemble? Be as specific about these activities as possible. - Why is “flow” in the conducting patterns so important? . Why is twisting the right hand in the conducting patterns detrimen- tal to the clarity of the conducting technique? . Why is the leadership aspect so important for the advanced conduc- cor? Let us talk about this idea of leadership in general terms for now. Why should the conducting technique be solidified (and automatic) before starting to learn to rehearse the instrumental music ensemble? Defend why the rehearsing aspect should be included in the conduct- ing curriculum. Discuss what background and training the conducting student will need in order to be successful in terms of the musicianship and the leadership. . Why is the rehearsal process (lab) environment so important for the conducting student? . What should happen before the advanced conductor is placed in front of the ensemble during the rehearsal process (Jab) environment? What should happen between the conducting teacher and the con- ducting students following the conducting and/or rehearsing experi- ence in the tehearsal process (lab) environment? By using a camcorder (see appendixes D and E), the advanced con- ductor can consider it as a learning tool to improve both the con- ducting technique and that of the rehearsing applications during the rehearsal process lab. Discuss these ideas thoroughlyCopyrighted materialCONNECTION TWO ~ The Right Hand versus the Left Hand This is where the use of videographic equipment and the assessment by the conducting teacher becomes so important for the advanced conductor. The conducting technique can be checked for both the right hand and the lefe hand. There are also many other aspects of the conducting technique thet can be confirmed for the advanced conducting student as well: the conduct- ing stance and position, the baton grip and wrist action, the conducting bo conducting patterns and gestures, and even that of the facial expression and and plane, the clarity of the ictus, the conducting flow, as well as the body language. These are all crucial connections in keeping the conducting technique meaningful. There are four videographic scenarios that will be introduced later, and they are: checking the conducting technique, conduct- ing with recorded materials, focusing on only the rehearsing aspect in the rehearsal process, and finally conducting and rehearsing for the performance. (I have expanded on this idea of videographic equipment and teacher assess- ment in appendixes D and E.) The problem here is that most conductors are not very concerned with the left hand. They are comfortable with letting the left hand mirror the right hand. Consequently, the left hand becomes meaningless in their conducting tech- nigue. It is simply duplicating what the right hand is doing. Therefore, the left hand is showing nothing that the right hand is not already doing in terms of the conducting technique. The left hand in the conducting technique hes many duties to perform if che conductor ellows this to happen. Among these left-hand duties is the crescendo, the diminuendo, the balancing of the parts,10 + Connection Two the phrasing, the releases, the control of dynamic levels, the cueing, the re- inforcing of the basic styles, the musical emphasis with accents and nuances, the musical expression, and the turning of the pages of the score. So how are all of these uses of the left hand shown? The crescendo is shown with a smooth motion of the left hand and arm from a lower position to a higher position with the palm turned somewhat upward. Now the problem arises that the left hand begins to look “poised” instead of being in a very natural, comfortable position. The fingers of the left hand should be slightly separated. The left hand should be moved forward even though, at times, it may clutter the right-hand patterns. The crescendo may be rather brief or it may extend over many measures of music. If it is a long crescendo, then the conductor may need to repeat this motion several times So if the conductor needs to retract this crescendo motion, it should be done inconspicuously and then start the motion all over again to control the cre- scendo for the ensemble The diminuendo or decrescendo (after the crescendo or a louder dynamic level) is executed in the same way as the crescendo except that the hand is turned somewhat downward and moves from a higher position to a lower po- sition, but remains in a very natural, comfortable position. However, there is a problem here in that many conductors seem to want to retract the left hand and arm in toward the body. This “look” feels good to the conductor, butis rather ineffective for the ensemble. The conductor should keep the left hand and arm out and forward so that the players can clearly see this smooth motion. The balancing of the parts with the left hand by the conductor is a little “trickier” in that it is difficult to be very specific as to who is involved here. In this case, the conductor would need to look at the player or players to in- dicate the softer or louder dynamic. If this is ineffective, then the conductor may need to stop the ensemble and indicate what needs to be done in order to achieve this better balance. As the ensemble becomes more sensitive to the use of the left hand and arm by the conductor, then the players involved should respond better to these various gestures The phrasing with the left hand and arm can be done effectively. Here it is difficult to describe the motions specifically in terms of the phrasing without having the music designated. However, with some creativity on the part of the conductor, this phrasing can be shown with the left hand. The phrasing with the left hand will sometimes replace what the right hand and arm would actually be doing. This is where the inner singing will be a guide for the conductor in showing this phrasing. The phrasing motion of the left hand might reinforce some of the nuances that the conductor wishes to have happen in the phrase during the rehearsal process.The Right Hand versus the Left Hand 11 The release with the left hand and arm can also be very effective. One of the advantages of using the left hand for the release is that it then frees up the right hand to be in a good position to continue on with the music after the release. The release with the right hand and arm can easily put this right hand and arm in the wrong place in order to comfortably continue with the music. Using the left hand for the release gives the conductor the confidence that the right hand is now in a good position to continue on with the music. The left-hand release can also be shown with a rather “softer-looking” release because the left-hand release is not necessarily part of the conducting pattern. In some cases, the conductor might choose to release with both hands such as at the end of a piece where there needs to be a more direct release. The control of the dynamic levels can be shown by reinforcement with the left hand and arm. Here, the situation is that if the dynamic level should be softer, then using a stable left hand and arm with the palm turned somewhat downward will indicate to the players that the dynamic level should be less. By the same token, if the conductor feels that the dynamic level should be stronger, the palm of a stable left hand and arm should be turned somewhat upward. With extremely loud dynamic levels, the conductor might also in- dicate with the left hand by closing this hand “to make a fist” and then raise the left hand and arm upward. Cueing may be done with either hand. If the cueing is done with the left hand, avoid a “pointing motion” as this is not a good motion for either hand. With this pointing motion, there is no precise indication for either a preparatory motion or an entrance motion. Consequently, the players may be confused about the ictus. This is the very thing that the conductor does not want to have happen for the player(s). Cueing can be done somewhat with the eyes and the nod of the head as well as with either of the hands and arms. With the cueing, you are sending the message about the kind of entrance as well as when it should be made. If there are many rapid entrances, the conductor should not attempt to cue all of these entrances, but rather show a precise pattern and let the players make the entrance without the cueing from the conductor. In reinforcing the basic styles with the left hand, the conductor may sim- ply mirror the left hand with the right-hand patterns for the legato, staccato, marcato, or tenuto styles in order to emphasize these four basic styles for the ensemble. The left hand could also be held somewhat stable with a position of the thumb and forefinger together for the staccato and marcato styles and a flowing left hand for the legato and tenuto styles mirroring the right hand. Anything that will help 10 reinforce or emphasize these various basic styles would be valid for the conductor to use.12. ~+ Connection Two Accent and nuances can be shown for musical emphasis with the left hand and arm. These accents and nuances can be shown in conjunction with the right-hand patterns for emphasis. The conductor, with both hands, can show these various musical emphasis simultaneously. [t comes down to having the conductor incorporate these accents and nuances with the left hand while he or she is practicing the conducting of the repertoire. Again, much of this use of the left hand depends on the conductor’s inner singing of the musical score, and therefore, including these accents and nuances during the conducting practice sessions is important as well. The accents and nuances, in particular, need to be shown before they actually occur The musical expression shown by the left hand and arm should be pro- moted and anticipated by the use of the inner singing technique as well. This is where the conductor creativity is displayed. In the conducting practice, the conductor might try various things and decide on specific motions, or else let the music dictate whet the left hand might do. In other words, the left- hand conducting technique should look like “what the music is describing or expressing.” Enough said! Ir almost goes without saying that the left hand would be enlisted in turn- ing the pages of the score. Concerning this duty, however, there is one situ- ation that needs to be brought forth about turning the pages of the score. If the conductor's music stand is positioned too low, then when the conductor turns the pages of the score, he or she has to reach down or bend over to turn the pages, and the results of this is that the stance and position of the conductor is now completely zltered. This would, likewise, tend to alter the conducting plane every time the page of the score is tumed. What should happen in order to get the left hand to function better for the conductor? The answer to this question is to “try harder and practice.” ‘Take some chances in the rehearsal process to use the left hand for these spe- cial duties. See how the players respond to these efforts. Use only the right hand and arm by itself in the rehearsal process sometimes. This will keep the conductor from always mirroring the left hand and arm with the right hand and arm. Practice these left-hand gestures at home while practicing the selected repertoire. Videotape yourself using these left-hand and -arm gestures, Do everything you can to use the left hand and arm properly during the rehearsal process. When practicing the conducting with inner singing and also while studying the score, think about these left-hand and -arm gestures as well. Practice these left-hand gestures in conjunction with the right-hand patterns so that the wo hands and arms become ambidextrous. Now, what is important for the conductor also is the position of the left s. The left hand should be in hand when not using these left-hand gesturThe Right Hand versus the Left Hand ~+ 13 front of the body, not touching the body, but in readiness for use. It should not be blocking the view of the right hand for the players. In this position, the conductor is now ready to use the left hand when needed and this should then be quite effective in its many uses. The left hand, when brought into use, should be moved forward so that the players see this as “something different” hap- pening and therefore respond to this motion The left-hand and -arm use seems to be something that is not taught very well or carefully enough in the beginning conducting classes. The left hand and arm are sort of ignored as a part of the conducting technique. | know that many conducting students have difficulty establishing the effectiveness of this left-hand use. Secondly, if the left hand is not in front of the body, then it tends to be dropped down by the side of the conductor. To the players and to the audience, this left-hand and -arm position gives one the impression of “indifference” or, at the very least, “casualness” by the conductor. It also means that the left hand and arm will now be required to move a further distance when activated. If the advanced conductor presently is mostly mirroring the right hand with the left hand, or not paying much attention to what the left hand and arm are doing, then he or she should definitely make an effort to change this. I think one would be a much more effective conductor if the right hand and the left hand become more ambidextrous. One will have to work at this, but unless the conducting patterns are well established and automatic, the left- hand and -arm work will only confuse the issue. Therefore, one should establish the right-hand conducting patterns first and then after that, go for the left-hand gestures. | have spent considerable space explaining the right hand vs. the lett hand for good reason. This is an important part of conducting and rehearsing the instrumental music ensemble. The more you can show with the left hand and arm, the less you will need to stop the ensemble for the various correc- tions and/or comments. The more that the left hand and arm can show, the more musical the advanced conductor will be! Discussions/Activities in the Conducting Classroom with the Advanced Conductor 1. A general review of what should happen with the right hand and arm in combination with the left hand and arm will be of value here. This isa broad look at the conducting technique with both hands and arms. 2, What are some of these duties that the left hand and erm can show with the conducting technique? Demonstrate and practice these vari- ous conducting gestures.14 Connection Two 13. 14, 16. What kind of conducting gestures with the use of the left hand and arm, during the rehearsal process, will cause the ensemble to become more musically sensitive? List some of these conducting gestures. Demonstrate these. . How does the inner singing impact with the use of the left hand and arm on the conducting technique? What are some things that will happen if you are inner singing during the rehearsal process? . By using the left hand and arm to show the release or cutoff, the con- ductor can now show the preparatory beat comfortably with the tight hand and arm as the music continues. Demonstrate this procedure with the conducting technique. Practice the crescendo and diminuendo with the left hand end arm while showing the conducting pattems with the tight hand and arm. Use various patterns. What would be the conducting motions in the balancing of parts with the left hand and arm? Demonstrate this How would you use the left hand and arm in terms of the phrasin; Demonstrate the conducting technique in order to show this phrasing. . Demonstrate how you would reinforce the right hand and arm with the left hand and arm in controlling the various dynamic levels. . Why is a “pointing” motion not a good way to cue the ensemble? Be specific about this. . In reinforcing the basic styles (legato, staccato, marcato, and tenuto) for the ensemble, what should the left hand and arm be doing? Dem- onstrate this. . Accents and nuances can be shown and reinforced for the ensemble with the left hand and arm. Demonstrate how the conductor would do this. Discuss and demonstrate what the left hand and arm might do in order to show the written musical expression to the ensemble. Why is the level of the conductor’s stand important for the conductor stance and then in identifying where the conducting plane or box is placed? . How does the advanced conductor get the left hand and arm to function effectively in the rehearsal process and in the concert per- formance? Where should the left hand and erm be when not in use by the con- ductor? Why is this so important and necessary?CONNECTION THREE ~ Music Imagery, Inner Singing, and Conducting Technique These three items connect with the ideas involved in score study for the ad- vanced conductor. When the conductor begins to read and study the score, the advanced conductor should activate all of his or her mental and musical prowess to realize this music imagery. It is an exacting procedure of looking at the music, the terms, and the markings involved with a sense of hearing the numerous sounds that are to be produced with the many and varied spe- cific instruments in the music ensemble. This does not really happen until the conductor has acquired the musical background necessary to mentally hear what they see in the score. This involves considerable background and experience as an instrumental player and an ensemble musician. Of course, it is also very important for the conductor to have the sense of the total or- chestration as well. In other words, the conductor needs to know how all of the instruments in the ensemble will sound individually and collectively. Reading a full score does require a certain amount of sheer practice, be- cause the conductor may be looking at thirty to forty different instrumental parts (almost all at once). The reality is, however, that after spending con- siderable time studying the score, the conductor will know which parts need to be observed specifically during the rehearsal process or in the concert per- formance. At some point in this whole rehearsal process, the conductor will also have to know where the places are in the score that will need attention with the ensemble during the rehearsal process both from the standpoint of conducting problems es well as the playing problems. So one begins to see all of the complications of studying the score and preparing for the rehearsal process16 ~~» Connection Three If all of this is not done before the rehearsal process begins, then the con- ductor will surely be unsuccessful during the rehearsal process. It is almost as simple as that! There should also be a great deal of planning and prepara- tion before the rehearsal process. This is a continuous process whereby after every rehearsal there should be an evaluation of the rehearsal followed by a preparation for the following rehearsal, if the conductor expects to have the ensemble progress toward the upcoming concert performance. In other words, the conductor cannot be successful in the rehearsal process without this detailed preparation of the score study. Then what follows is the inner singing of the score while studying the score. What happens here? Now all of the details of the score are translated into audible sounds produced by the conductor during score study. What? How can this possibly occur? Well, it is done a little at a time. The conductor might start out by simply singing the melodic lines throughout, but later on the conductor should also sing the other lines as well to gain familiarity with all of these details in the score. It is most important that the conductor connects with all of these various lines. After the conductor, through the inner singing, digests this, it is then time to begin the conducting practice with the inner singing, All of this time, the conductor is singing audibly and, most impor- tantly, rhythmically. If the exact pitch is a problem at first for the conduc- tor, do not give up on this inner singing, as it will get better. The important aspect is that it is rhythmically exact. Then during the rehearsal process and the concert performance, this inner singing must be done silently! Music Imagery Music imagery is the technique and procedure whereby the conductor learns the score. The inner singing of this music imagery then transfers this to the conducting technique and, subsequently, to the instrumental music ensem- ble. So this connection should be made between these three items in order for the conductor to be successful during the reheassal process and in the concert perfor- mance, The music imagery is a viswal-aural-mental-musical process whereby the conductor during score study conceives the essence and spirit of the work as well as the style and that of the musical interpretation. The basic thought here is for the conductor to hear mentally and musically what he or she sees and hears in the musical score. This is why the procedure of music imagery is so very important for the conductor. In other words, the music imagery s aris the whole idea of this important connection with the music imagery, the inner singing, and the conducting technique. So during this music imagery phase, there are many things wo consider. As the conductor goes throughMusic Imagery, Inner Singing, and Conducting Technique —~ 17 each page of the score, he or she should discover what the composer was try- ing to say both technically and musically. To a great extent, the conductor in reality is trying to find owt what the piece is really all about. This means that you have to observe many details—terms, clefs and transpositions, instrumenta- tion, style, orchestration, form and themes, articulations, accents, phrasing, dynamics, musical expression, conducting problems, and playing problems— to mention just a few things. When this is done, such things as marking the score and the parts can begin. What we are really talking about is all of the details in the musical score! Inner Singing Inner singing is the key to successfully conducting the instrumental music ensemble! If the conductor is not inner singing during the rehearsal process or the concert performance, what is actually happening is that the conductor is doing little more than waving the hands and arms as conceived during his or her conducting practice. I see this happening very frequently with many conductors! The result of this is that there is little or no connection between the conducting technique and the actual music. The inner singing should act as a conduit to the conducting technique. The conductor needs to inner sing the music so that, in a sense, the conductor is producing the music in order to guide the conducting technique. If this connection is not made, then the musicality in the conducting technique may very well be nonexistent Therefore, during score study and conducting practice, the conductor should produce the music (through inner singing) audibly. However, during the rehearsal process and in the concert performance, inner singing must be done silently (hearing it in your head) so as not to distract the players or the audience. It does not bother the ensemble to see the conductor with his or her facial expression and/or head and mouth movement doing inner singing. As a matter of fact, this can be very helpful to the ensemble to see that this is happening, These facial changes will show that the conductor is totally involved in the actual music being produced. This will certainly promote the musicality qwith the ensemble curing the rehearsal process and in the concert per- formance Conducting Technique It is obvious from watching many conductors that there is lite or no con- nection between the music and the conducting technique. The hands and the arms are ex -cuting the conducting patterns and gestures, but it has littleimage not availableimage not available20 ~* Connection Three a resonant burz (that of inner singing) issuing from deep down in his chest, toa state of quiet, lofty triumph during which he seems lost in thought and only his expressive hands appear to be aware of the music” (Trotter, 1995, 299) This description of Dimitri Mitropoulos in the rehearsal process confirms what I had experienced in playing and rehearsing under Maestro Mitropoulos several times. For many years, [ had also played under and rehearsed with James Dixon, who was a protégé of Dimitri Mitropoulos, and he also used the technique and procedure of inner singing as well One final thought about the conducting technique: It is the conducting technique that shows the energy level by the conductor. This is an important consideration for the advanced conductor. It is not just the size of the con- ducting pattern involved here, but also the conducting intensity and use of the left hand as well. This energy level can also be shown with the eyes and facial expression of the conductor. The fluctuation of the energy level shown by the conductor is a very important part in producing this musicality and the musical interpretation by the conductor in the rehearsal process and then, subsequently, in the concert performance. (This is what was described in the previous para- graph concerning Dimitri Mitropoulos’s energy level of conducting.) Discussions/Activities in the Conducting Classroom with the Advanced Conductor 1. Select a phrase of music and then have the class discuss the procedures of music imagery and inner singing with this phrase. (A musical ex- ample is needed here.) Now, inner sing the above phrase audibly while conducting this phrase. What connects the inner singing to the conducting technique (the conducting patterns and gestures, the conductor's eyes, the facial ex- eS pression, and the body language)? Discuss these connections in detail. 4. Why is the development of the conducting patterns and gestures so im- portant before the inner singing is instituted? In general, how should this conducting technique then be developed for the advanced conductor? 5, Discuss some of the important characteristics of the conducting tech- nique. (Demonstrate these characteristics with the 4/4 conducting pattern.) How well are you doing personally with these characteristics of the conducting technique? 6 Check out your conducting technique on the following items: stance or posture, conducting position, attention position, comfort, graceful ness, the conducting plane and box (or window), the flow, and with the use of the left-hand duties.image not availableimage not availableimage not available24 + Connection Four The next thing to look at carefully is the problems involving the key names of the various instruments such as B-flat clarinet, E-flat alto saxo- phone, or F horn. This is all very important because one cannot read a full core unless it is known what the key names of the instruments are. Then, unless the conductor is aware of the various transpositions for these instru- ments, it is impossible to read the score accurately. There are many reference sources to learn about these key names and their transpositions. This, of course, involves the comparison of the written pitch vs. the sounding pitch. Now, the next problem is that in the orchestra, there are three different players who should learn to transpose, and these are the trumpets, the French horns, and the clarinets. More and more of these orchestral parts are being transposed by publishers so the players do not have to transpose the parts, but the conductor who is reading the full score will need to know the transposi- tion interval and the sounding pitch for these various instruments, because the transposed parts still appear the same in the full score. (The conducting teacher may need to spend some time on this whole subject during the class period, depending on where the advanced conducting students are presently with this important information.) With the orchestra especially, there is also the problem of clefs. The C clefs designate where middle C is on the instrument. The viola player generally reads in the alto clef, although this may change to the treble clef on acca- sions. The cello player reads mostly in bass clef, but can also be expected to play in the tenor clef or the treble clef. The contrabass player reads in the bass clef, but in a few instances will play in the tenor clef or even treble clef. The bassoon player reads mostly in the bass clef, but will also play in the tenor clef. The French horn player will also need to be able to read in bass clef. The trombone player may need to read in bass, tenor, and alto clef in the orchestra. In the concert band, the euphonium player should be able to read and play in both treble clef and bass clef because of the printed part availability, and also with the borrowing of solo repertoire from the trumpet- cornet literature. Once this is all figured out, then a survey of the rest of the composition is needed in order to check on such items as form, themes, key changes, tem- pos, tempo changes, phrasing, meters, and meter changes, as well as the es- sence and spirit of the music. These various things will require the conductor to have a substantial music background in music theory, music history and literature, pedagogy, orchestration, and performance. What should happen is that all of this previous background should come into play for the advanced conductor during the score study as well as during the rehearsal processimage not availableimage not availableimage not available28 ~~ Connection Four solve problems in the rehearsal process. These errors and problems can he anticipated with careful score study. Likewise, the teaching strategies are connected with the rehezrsal priorities that were stated above. For example, if a certain section in the ensemble is not well in tune, the conductor should confront this with the proper teaching strategies depending on what the problem may be and offer an appropriate solution to the problem There are numerous teaching strategies out there to be used depending on what exactly is the problem. These teaching strategies are acquired in many different ways. Below is a basic list of how these teaching strategies can be acquired by the advanced conductor: With thorough and careful study of the scores. By the watching and listening to other conductors and ensembles dur- pe ing the rehearsal process 3. By experimenting sometimes with these teaching strategies during the actual rehearsal process 4, By reading chapters 8-16 in John Colson’s Conducting and Rehearsin the Instrumental Music Ensemble 5. By the advanced conductor listening carefully to the ensemble during the rehearsal process. 6. By being as musical and creative as possible during the rehearsal process. These teaching strategies are acquired over a lifetime of conducting and rehearsing the instrumental music ensemble. The advanced conductor should acquire an arsenal of these teaching strategies as soon as possible for use during the rehearsal process. Actually the conducting technique can be considered a teaching strategy as well. If the conducting technique is adequate or better, then the conducting technique will serve as teaching strategies during the rehearsal process. Otherwise, these teaching strategies are nerally presented verbally, by singing, by playing, by demonstrating, by modeling and imitation, and through conductor feedback. Stanley Schleuter in his book A Sound Approach to Teaching Instrumental- ists (1984, 93) indicates that “diagnostic and prescriptive teaching should gain effectiveness through continued teaching experience.” Unfortunately, unless the conductor works at this, this will not happen. In order for this to happen, the advanced conductor should make a concerted effort to acquite these various teaching strategies. This is the main reason why 1 have written this second book on rehearsin; Most all of these teaching strategies should be presented quite briefly with the idea of getting the point across to the players and keeping the momentum of the rehearsal process moving forward. With a long presentation by theimage not availableimage not availableimage not availableCopyrighted materialimage not availableimage not availableimage not available36 —~* Connection Five Samuel Adler—The Study of Orchestration, third edition Daniel L. Kohut and T. Cashman—Instrumental Music Pedagogy Philip Farkas—The Art of Musicianship The following compendiums or checklists should act as a guide for the college pedagogy teacher, the instrumental music teacher, and the advanced instrumental music conductor. The pedagogy teacher should elaborate on of these various items listed below during the pedagogy class period. The instrumental pedagogy teacher should cover this important material for both the private (or group) lessons and the rehearsing of the instrumental music ensemble. The advanced instrumental music conductors will have the opportunity to use some of this information during most all of the instrumental lessons as well as continuously in the rehearsal process. This is how important all of the information is for the instrumental music teacher and for the advanced conductor! To find these search results for the various instru- ments, place the italicized words in the search box or on the address bar. and demonstrate al Woodwind Instruments Flutes/Piccolo Equipment: C piccolo, C flute, G alto flute, C bass flute, and the swab The selection and the care of this equipment: The selection of equipment should be discussed by the pedagogy teacher or instrumental specialist; head joint cleaned, tuning plug adjusted, pads checked, and bore swabbing after playing; assembling the flute (parts of the flute—head joint, body, foot joint). Holding the instrument correctly: To be demonstrated by the pedagog teacher or the instrumental specialist that would include posture, arms, hands, fingers, and the various instruments; note the holding position on videos or YouTube videos cited Registers: Weak low register; shrill high register (to be demonstrated). Online: Enter Western concert flute into a search engine. Embouchure development: Somewhat of a “sarcastic smile” embouchure; corners of the mouth are firm; the embouchure setting controls the amount of air released through the lips across the embouchure hole; adjustments are needed for low and high registers as well as for the dynamic levels. Exercises for embouchure development: Long tones, lyric exercises and 1 1S y pieces, scales, intervals, arpeggios, technical studies and ctudes, and with the use of harmonics,image not availableimage not availableimage not available40. —~ Connection Five of clarinet rings; the reed scraped or clipped (adjusted); the mouthpiece qual- ity is an important factor here; alternate fingerings; add fingers; half hole; embouchure-lipping; check each note chromatically throughout the entire range with the electronic tuner (use the buddy system with a chart or graph for checking the intonation). Bad notes: High B, high C, and high C-sharp are sharp in pitch. Video: Clarinet: Enter How to tune the clarinet for performance and analysis into a search engine. Tonguing and slurring: Tonguing at the tip of the reed (or 1/8th inch from the tip of the reed); tongue release is possible when needed; the jaw should not be moving while tonguing; slurring can be done quite easily on these instruments if the air use and finger technique are adequate. Video: Clarinet: Enter Clarinet articulation with tonguing and sltering into a search engine Vibrato development: Produced by air intensity in waves (diaphragm vi- brato) or jaw; start vibrating (with metronome at seventy-two to the quarter note) with twos, then threes, then fours, and then slightly faster ro produce an acceptable vibrato (demonstrate this procedure and the production); evenness, speed, and depth are important here; to beautify the sound; use mbles when appropriates vibrato is used infrequently. with solo jazz passages in ens or with clarinet solo repertoire only YouTube: Clarinet: Enter Vibrato on the clarinet? into a search engine. Singing through the instrument: The player should develop the technique and procedure of inner singing while playing the instrument; this procedure iy a constant one wherein the inner singing happens silently all of the time while playing the instru ent. Transpositions: For clarinet in A (transpose half-step down by flatting everything, or read down a step and add five sharps to the key signature) or for clarinet in C (whole-step up and add two sharps to the key signature) for orchestral parts on the B-flat clarinet. Bass clef reading on bass clarinets With orchestral parts (read the note names as in bass clef and then play the note with clarinet fingerin; Special effects (when needed), tremolo, portamento, harmonics, and vibrato (jaz Glissandi, flutter-tongue, multiphonics, multiple tonguing e Ornaments: Trills, mordents, gruppettos or turns, grace notes, and appos- giaturas.image not availableimage not availableimage not available44. —~ Connection Five Tone production: Tone concept (to be demonstrated); a centered sound; pinch the reed at the edges to open for the best tone possible; breath control for proper tone production (demonstrated by the pedagogy teacher or instru- mental specialist). Tone projection: Done by the dynamic levels produced; aiming at a distant point; vibrato use; increasing the intensity of the tone. Reed quality, response, and adjustments: Adjusting the scraping the reed with knife or sandpaper; adjusting the wires reed; assoon reed; to open the waking the reed; reed is too open; reed is too closed. YouTube: Bassoon: Enter Bassoon Basics into a search engine. The fingering system: The basic set of six tone holes on the front of the body like the other woodwind instruments; check bassoon and contrabas- soon fingering charts; name fingerings by the note (such as low C); tech- nique development to be discussed. Alternate and trill fingerings: Alternate fingerings for use with the high register notes (many); fingering chart needed; trill fingerings should be discussed and demonstrated; use half-hole fingering; employ flicking tech- nique. Online: Bassoon: Enter Basic fingering chart for Heckel-system bassoon into a search engine. Fingers/tongue coordination: Practice slowly at first; gradually increase speed; decide if it is a technical problem or a rhythmic problem (accuracy before speed); technique development to be discussed. Technique development: This comes from correct practicing and attention to the fundamentals of playing the instrument properly. Intonation adjustments: Alternate fingerings; amount of reed in the mouth; reed quality is a cause of poor intonation; three bocal lengths; awareness of poor pitch is important here; adjusting the reed and wires; add fingers; drop jaw on low notes; embouchure-lipping. Bad notes: E flat, F sharp, and G are sharp in pitch (bass clef staff); check each note chromatically throughout the range with the electronic tuner (use the buddy system with a chart or graph for checking the intonation). YouTube: Bassoon: Enter Bassoon intonation into a search engine. Tonguing and slurring: Tonguing on the underside of the reed, but not with the tip of the tongue; slurring can be done quite easily on these instruments if the air use and finger technique are adequate.image not availableimage not availableimage not available48 ~~ Connection Five Online: Enter Trumpet: Wikipedia, the free encyclopedia into a search engine Embouchure development: One-half upper lip and one-helf lower lip; cor ners of the mouth “anchored” in places jaw forward; high/low range (even and firm pressure, but not excessive throughout) and endurance develop- ment (by playing and then resting) Exercises for embouchure development: Buzzing the mouthpiece, lip bends, using the BERP, soft playing, long tones, scales, lip slurs, intervals, arpeggios, and technical studies and etudes. Problems with embouchure development: Uneven mouthpiece pressure, mouthpiece setting on the lips, and taking the breath “in,” while setting the embouchure. Online: Trumpet: Enter The ideal mempet embouchure into a search engine. Breath/control: Take a deep breath with “Ah” (diaphragmatic breathing); then exhale into the instrument with the proper air speed and volume (all of this to be demonstrated by the pedagogy teacher or instrumental specialist). Oral cavity and flexibility: The oral cavity is the space between the tongue and the roof of the mouth; registers produced by the arch of the tongue (tah- too-tee); flexibility in both tonguing and slurring; tongue arch used for the lip slurring (tah-oo-ee); air speed and direction for lip slurring. Tone production: Tone concept (to be demonstrated); a centered sound; a combination of this embouchure development and the breath control; a warm-up is very important in this area of study (discuss the warm-up proc dure—low before high, soft before loud, and slow before fast; long tones, lip slurs, scales, intervals, and arpeggios). Large dynamic range: Air speed and volume should be controlled and bal- anced within the instrumental ensemble on these instruments. Video: Trumpet: Enter Trumpet tips: Creating your best trumpet sound into a search engine. The fingering system: Based on the harmonic series and the seven positions on the trumpet (elaborate on this—open, 2, 1, 12, 23, 13, and 123); three piston valves (four piston valves on the piccolo trumpet); the rotary valves are used with other trumpets frequently in Europe; technique development to be discussed Online: Trumpet: Enter Trumper fingering chart into a search engine.image not availableimage not availableimage not available52. ~~ Connection Five 123); fingerings are different on the B-flat side (with the thumb) on the French horn; four rotary valves; French horn is fingered with the left hand. Video: French horn: Enter Good French korn fingerings into a search engine. Fingers/tongue coordination: Practice slowly at first; gradually increase speed; decide if it is a technical problem or a rhythmic problem (accuracy before speed). Technique development: This comes from correct practicing and attention to the fundamentals of playing the instrument properly Partial accuracy: “Feel the pitches” at the embouchure; practice singing these various intervals and pitches before playing them or a combination of playing and singing; discuss the technical accuracy involved here. High register and endurance: A well-developed embouchure; air speed and volume; “top of the note” technique from third space C sharp and upwar endurance development (by playing and then resting) are important here; even and firm mouthpiece pressure for both the high register and for the endurance. Intonation adjustments: With workable cuning slides; right hand in the bell; adjust with the embouchure; adjust with the breath; with extreme dynamics and extreme registers (listening and adjusting); tuning both sides of the hom to each other and tuning the valve slides on both sides of the horn; alternate fingerings; “bad notes” adjusted Alternate fingerings: To improve the intonation or for use with tills (third valve used here in place of first and second); discuss the overlapping of the harmonic series. Use of the double horn: Both sides should be in tune with each other; dis- cuss “tuning the double horn” procedure; workable slides on both sides of the horn; when to switch sides (F/B flat). Bad notes: A, C sharp, and D in the staff are sharp in pitch; extreme dynam- ics; extreme registers; adjustments can he made with right hand in the bell; the use of the double hom; check each note chromatically throughout the entire range with the electronic tuner (use the buddy system with a chart or graph for checking the intonation) Video: French horn: Enter How to improve intonation on the French hom into a search engine. Tonguing and slurring: The tongue is placed behind upper teeth where teeth and gum meet; develop the double tonguing (tu-ku) and the tripleimage not availableimage not availableimage not available56 —~* Connection Five Tonguing and slurring: The tongue is placed behind upper teeth where teeth and gum meet; develop the double tonguing (tu-ku) and the triple tonguing (tu-tu-ku); legato-tonguing technique to replace the slurring tech- nique and avoiding “smeary” technique in slurred passages; legato-tonguing technique is executed with a legato “du” attack and a quick movement of the slide. Video: Trombone: Enter Trombone tongning into a search engine. Playing with mutes: This causes some intonation problems (reduce cork if needed); show the straight mute, Harmon mute, cup mute, and many of the other trombone mutes; tuning the mutes with the electronic tuner. Vibrato development: Jaw or slide; start vibrating in waves “woo” or slide movement on both sides of the position (with the metronome at seventy-two to a quarter note) with twos, then threes, then fours, and then slightly faster to produce an acceptable vibrato (demonstrate this production); evenness, speed, and depth are important here; in order to beautify the sound; used on. trombone solo passages in ensembles or on trombone solo repertoire. Video: Trombone: Enter Trombone vibrato into a search engine, Singing through the instrument: The player should develop this technique and procedure of inner singing while playing the instrument; this procedure is a constant one wherein the inner singing happens silently all of the time while playing the instrument. Clefs for orchestral playing: Bass clef, tenor clef, and alto clef in the or chestra; the clef sign designates middle C; just bass clef in the concert band. Extreme low register should be fostered; pedal tones; use of the attachments in the low register. Bass trombone performance: ll, Special effects: Muted, glissando ot smear, flutter-tongue, hand in the b plunger in the bell, bells up, shakes, and fall-offs. Ornaments: Lip tills, mordents, gruppettos or turns, grace notes, appor- giaturas Euphonium/Baritone Equipment needed: B-flat euphonium/baritone, mouthpiece, mute (seldom), slide lubricant, and valve oil. The selection and the care of this equipment: The selection of equipment should be discussed by the pedagogy teacher or instrumental specialist; clean- ing the horn and the mouthpiece, lubricating the slides, oiling the valves.image not availableimage not availableimage not available60 Connection Five Registers: Deep low register; intense high register (to be demonstrated). Online: Enter Tuba: Wikipedia, the free encyclopedia into a search engine. Embouchure development: One-half upper lip and one-half lower lip; firm comers of the mouth; do not puff the cheeks; high/low register, the partial accuracy, endurance development (by playing and then testing); oral cavity positioned by the tongue placement (tongued—tah-too-tee or slurred—tah- oo-ee oF tee-oo-ah). Exercises for embouchure development: Long tones, scales, lip slurs, inter vals, arpeggios, and technical studies and etudes. Problems with embouchure development: Loose embouchure setting, un- controlled comers of the mouth, and taking the breath “in,” while setting the embouchure; tone control problems in the lower register; centering the tone is a basic problem on the tuba or Sousaphone. Video: Tuba: Enter Tuba posture and embouchire into a search engine Breath/control: This instrument requires a large amount of air; then exhale into the instrument with proper air speed and volume (all of this to be dem- onstrated by the pedagogy teacher or instrumental specialist); avoid “puffing the cheeks.” Tone production: Tone concept (to be demonstrated); a centered sound is important; a combination of embouchure development and breath con- wol; a warm-up is very important in this area of study (discuss the warm-up procedure—low before high, soft before loud, and slow before fast; lor tones, lip slurs, scales, intervals, and arpeggios). Large dynamic range: Air speed and volume should be controlled and bal- anced within the ensemble: Online: Enter Tuba: A reference for teachers and students into a search engine. The fingering system: Based on the harmonic series and the seven positions (elaborate on this—open, 2, 1, 12, 23, 13, and 123); three or four piston valves or three or four rotary valves; see fingering chart for fourth-valve use. Fingers/tongue coordination: Practice slowly at first; gradually increase speed; decide if it is a technical problem or a rhythmic problem (accuracy before speed). Flexibility and technical facility: This is a problem on the tuba or Sou- saphone because of the size of the instrument; players need to work more on technical studies and etudes; learn to play with more lightness on the instrument; tongue arch for lip slutring (tah-oo-ee or tee-oo-ah); oral cavity change executed with the back of the tongue position.image not availableimage not availableimage not available64 > Connection Five Online: Violin: Enter Violin fingering chart advanced positions into a search engine String technique: Col legno, punta d’arco, at the frog, full bow, successive down-bows, successive up-bows, pizzicato (several ways), harmonics (natural and artificial), tremoli (bowed or fingered), sul tasto, sul ponticello, double- stops, triple-stops, quadruple-stops, divisi, staggered bowing, free bowing, and non vibrato Intonation: Most of the intonation problems have to do with the placement of the left-hand fingers on the strings; use finger sliding; careful tuning of the open strings initially; periodic tuning of the open strings throughout the rehearsal process. YouTube: Violin: Enter Violin intonation: A simple approach into @ search engine. Playing with mute: [t only takes a moment to adjust the mute on the instru- ment; con sordino or mit éeimpfer are terms for the mute use; senza sordino or ohne démpfer are terms for without mute Vibrato development: The vibrato is performed with the left hand and fin- gers with the motion centered in the wrist; the fingers should rock on the string without the instrument moving; work from slow to fast with the met- ronome (at seventy-two) rocking with twos, threes, fours, and then slightly faster to achieve the proper vibrato speed; evenness, speed, and depth are important here; to beautify the sound; use vibrato most all of the time in performance (the vibrato should be demonstrated by the pedagogy teacher of instrumental specialist). YouTube: Violin: Enter Violin vibrato tutorial into a search engine. Singing through the instrument: The player should develop the technique and procedure of inner singing while playing the instrument; this procedure is a constant one wherein the inner singing happens silently all of the time while playing the instrument. Special effect sul tasto, sul ponticello, harmonies (natural and artificial), pi ous ways), col legno, double-stops, non vibrato, and divisi Muted, glissando, tremolo (howed or fingered), portamento, zicato (in vari- Video: Violin: Enter Special effects for playing violin, glissando, etc. into a search engine. Ornaments Trills, mordents, gruppettos or turns, grace notes, and appog- giaturas.image not availableimage not availableimage not available68 ~~ Connection Five Exercises for tone development: Quarter nate exercises, long tone exercises, scale exercises, interval exercises, arpeggio exercises, and other exercises that will foster this tone development (as demonstrated by the pedagogy teacher or instrumental specialist). Problems with tone development: Uneven pressure and weight on the strings; bow movement control; coatact between the bow and the strings (as demonstrated by the pedagogy teacher or instrumental specialist) Tone production: Tone concept (demonstrated by the pedagogy teacher or instrumental specialist); a combination of the correct left-hand position development and the use of the bow. YouTube: Cello: Enter Cello tone production into a search engine Bow use: Down-bow (M4); up-bow (V); part of the bow used (frog, lower half, middle, upper half, and tip); balance point; full bow; bow pressure, bow speed, and bow placement on the string. Bowings: On-the-string bowings (see below); off-the-string bowings (see below); uniform bowing in the ensemble; bowings marked before the first rehearsal process. Bowing styles: (On-the-string bowings) legato, détaché, martelé, slurred staccato, staccato, and louré; (off-the-string bowings) staccato, spiccato, sau- tillé, staccato volanté, and richochet; have these bowing styles demonstrated by a proficient string player for the pedagogy or conducting classes Positions and fingerings: Seven positions from the open string (with ex- tended thumb); shifting positions; fingerings; string crossings (demonstrated by the pedagogy teacher or instrumental specialist). Technique development: This comes from correct practicing and attention to the fundamentals of playing the instrument properly; uniformity of bowing and bowing styles (on-the-string and off-the-string). YouTube: Cello: Enter How to play the cello into a search engine. String techniques: Col legno, punta d’arco, at the frog, full bow, successive down-bows, successive up-bows, pizzicato (several ways), harmonics (natural and artificial), tremolo (bowed or fingered), sul tasto, sul ponticello, double- stops, divisi, staggered bowing, free bowing, and non vibrato. Intonation: Most of the intonation problems have to do with the placement of the left-hand fingers on the strings; finger sliding; careful tuning of the open strings initially; periodic tuning during the rehearsal process; pegs and fine tuning (adjusters); tuning with harmonicsimage not availableimage not availableimage not available72 ~~ Connection Five Harp Tuning the harp: Careful initial tuning; periodic tuning; tuning by the harpist. Seven pedals on the harp: This causes inherent sight-reading problems; pedals are adjustable in three positions; pedals need to be adjusted before the various sections in the music appear. Online: Enter Pedal Harp: Wikipedia, the free encyclopedia into a search en- gine Seales with one hand or two hands: Techniques involved (to be demon- strated). Chords with one hand or two hands: Techniques involved (to be demon- strated). Arpeggios with one hand or two hands: Techniques involved (to be dem- onstrated) Glissando with one hand or two hands: Techniques involved (to be dem- onstrated). YouTube: Harp: Enter On playing the harp by Yolanda Kondonassis into a search engine. Harmonics: Technique involved (to be demonstrated). Enharmonics: The changing of pitches such as on C sharp and D flat. Dampening: With the hands. Trills and tremoli: Needed to be practiced for control and evenness. Piano/Harpsichord/Organ/Celesta Keyboards and keys: Number of keyboards and keys on these various insuru- ments listed above. Piano pedals: Two or three pedals; softening; sustaining Piano scales: Fingerings; accuracy; facility Piano arpeggios: Fingerings; accuracy; facility. Piano chords: Fingerings; accuracy; facility. Special contemporary piano techniques: Glissando, toy piano, plucking strings inside the piano; prepared piano; amplified piano, playing with vari- ous beaters or mallet(s) inside the piano.image not availableimage not availableimage not available76 ~' Connection Five Playing accuracy for chimes: Positioning the instrument and the music stand in order to see the music and the conductor Dampening: Bells with hand; chimes with hand or foot pedal Xylophone/Marimba/Vibraphone Xylophone: Soft to hard mallets; mallet composition; mallet grip (demon- strate grips). Marimba: Soft to hard mallets; mallet composition; special techniques on the marimba; mallet grip (demonstrate grips). Vibraphone: So‘t to hard mallets; mallet composition; special techniques on the vibraphone; mallet grip (demonstrate grips); pedal technique involved (sustaining or dampening the sound); mallet dampening: vibrato speed ad- justment. Multiple-mallets: Grips and techniques (demonstrated by the pedagogy teacher or instrumental specialist). Playing accuracy: Large skips or intervals are somewhat problematic on the keyboard instruments in terms of reading the music: Music reading skills: Know the keyboard of the instrument, so you are able to play (and see) and read the music simultaneously. Instruments and striking equipment: Necessary maintenance on these in- struments and equipment. Special effects: Glissandi, trills, rolls, and tremoli Woodblock/Tambourine/ Triangle Woodblock: mallet choices; holding the woodblock with the left hand and strike with right-hand stick (demonstrate) Tambourine: Stroke (right-hand) with the fingers curled (demonstrate); roll with the moistened thumb on the head (demonstrate) or shake (demon- strate); played between the knee and the knuckles (demonstrate). Triangle: Choice playing area on the instrument (demonstrate); beater se- lection; rolls (demonstrate); dampening techniques (demonstrate). Many Other Percussion Instruments Drum set (for jazz or pop): Bass drum, snare drum, floor tom, ride cymbal, crash cymbal, hi-hat cymbal, and other ancillary instruments; a seat for theimage not availableimage not availableimage not available80 —~- Connection Six 6. The conductor should use the left hand and arm for specific duties, rather than just mirroring the right hand and arm with the left hand and arm. If the conductor has his or her eyes and head buried in the score most of the time, the players will do likewise with their music. This can all be avoided by good score study and rehearsal planning and preparations. Listening to the rest of the ensemble is just as important for the players as watch- ing the conductor! Getting the players to listen to the rest of the ensemble is not necessarily what most conductors try to accomplish in the rehearsal pro- cess, unfortunately. When players practice individually they are only listen- ing to themselves, but in an ensemble, they need to be listening to the rest of the players in order to match these many performance aspects. So what should the conductor be doing in the rehearsal process to get this accom- plished? The answer is “many things.” For example, the conductor might sey to the ensemble, “Whom are you playing this passage with?” and, therefore, should be listening to match the intonation, articulation, dynamic level, and tone quality of the other instruments that ate playing this same line. There are many other ideas about listening to the rest of the ensemble that could be cited here. I will include more of these ideas within Connection Fifteen, “Teaching through Performance Concepts.” Watching the Conductor Watching the conductor should be a rather routine procedure in the rehearsal process and in the concert performance. This statement is not always the case, or done enough with by the conductor. As mentioned above, there are specific reasons why this does not happen. The conductor should be constantly aware of whether or not this is happening in the rehearsal process. The best way for this to happen is that the conductor is so clear and musical with the conduct- ing technique that the ensemble responds readily to this kind of conducting. Give the ensemble reasons for watching the conductor. If the conductor is constantly mirroring the left hand and arm with the right hand and arm, the ensemble will become weary of the two hands and arms doing the same thing. This kind of conducting causes the players to stop watching the conductor. By the same token, if the conductor shows these ambidextrous movements with each of the hands and arms, the players will respond appropriately and will watch the conductor for guidance with the left hand and arm. Do activities in the warm-up period that will foster watching the conductor There are many kinds of activities in the warm-up period that can be used for this purpose—for example, the late John Paynter’s (director of bands atimage not availableimage not availableimage not available84 — Connection Six 9, If the players are watching the conductor and listening to the rest of the ensemble, there could then develop this wonderful collaboration between the conductor and the ensemble. Here is a great psychological connection during the rehearsal process! Explain what | mean by this psychological connection.image not availableimage not availableimage not available88 —~* Connection Seven musical emotions. These musical emotions come back to the inner singing by the conductor. The inner singing guides and dictates these musical emotions. This is why the score study, music imagery, and inner singing are so impor- tant for the advanced conductors to foster throughout their careers. In this way, the conductor will find that the authenticity and the realization of the musical interpretation of the repertoire are achieved. Behind all of this should be the education and traming of the advanced conductor with these various areas of study for the instrumental music conductor. Discussions/Activities in the Conducting Classroom for the Advanced Conductor 1. Discuss how listening by the advanced conductor and the application of this musical sensitivity connect during the instrumental music en- semble rehearsal process ny The listening and the musical sensitivity for the advanced conductor do not necessarily come easily. What should the advanced conduc- tor do in order for these two items to occur during the instrumental rehearsal process? 3. Talk about how the left hand and arm of the conductor can show much of the musical sensitivity aspect for the ensemble during the rehearsal process. 4. Demonstrate some of these conducting patterns and gestures that would equate with that of the musical sensitivity shown by the con- ductor. How do all of these ideas acquired with the conductor’s background ww and experience begin to pay off in the rehearsing of the instrumental music ensemble? The advanced conductor should bring this back- ground and experience to every rehearsal process. 6. What kind of patterns and gestures might be done during the rehearsal process in order to communicate this musical sensitivity to the en- semble? 7. Describe this critical connection between listening, musical sensitiv- ity, and the inner singing during the rehearsal process. 8. Exactly how will you transfer this element of musical sensitivity to the ensemble during the rehearsal process? 9. If the conducting technique is exaggerated too much in showing these musical emotions to the ensemble, then the players will become desen- sitized with this kind of conducting technique. How ean the conductor avoid this!image not availableimage not availableimage not available92 + Connection Bight 7. Take a break 8. Re-tune some of the ensemble, but keep the whole ensemble involved in this. 9. Assume that these and many other changes of the players to become more productive. 10. By keeping the ensemble busy, the proper pacing should be estab- lished and maintained ace will then cause OF course, this change of pace is done with the intentions of having the players become more alert and then the conductor pushes forward in terms of taking care of the errors and problems. If the conductor is really trying hard to. communicate the technical and musical aspects to the ensemble through both the conducting and the rehearsing during the rehearsal process, the ensemble should respond very positively with this kind of pacing. The we of inner singing and multitasking in the rehearsal process should be very effective means in terms of this rehearsal pacing. Finally, itis important for the conductor to realize that even a few seconds of blank time in the rehearsal process may cause the ensemble to lose concentration. For example, when the conductor stops the ensemble to correct an error or solve a problem, this should be done immediately—or else do not stop! Likewise, after the correction or solution has been made, then the conductor must tell the ensemble where to begin again immediately. There should not be hesitation here either. So how does this get done? The answer is through good score study, planning, and prepa- rations belote the rehearsal process begins. Conductors should know what they are going to do during the rehearsal process Discussions/Activities in the Conducting Classroom with the Advanced Conductor L. The rehearsal process has many unexpected problems for the conduc- tor to confront. How can the conductor cope with these problems and keep the rehearsal process moving forward? 2. So during the rehearsal process, how will the conductor keep the te- hearsal process moving forward? Was the conductor the problem dur- ing the rehearsal process? 3. What about the whole idea of pacing the reheersal process? Are there some things that particularly need to be considered about the pecing of the rehearsal process with the particular ensemble?image not availableimage not availableimage not available96 —~ Connection Nine a look at some of these items in detail that the conductor is responsible for doing in terms of the multitasking (and/or multi-awareness) Conducting Technique Conducting—this could be a whole other book almost. I will be brief. The conducting of an instrumental music ensemble is not to be taken lightly, however. Conducting an instrumental music ensemble requires a great deal of preparation on the part of the conductor as | hope that you have already realized. In just learning the patterns and gestures so that they are clear and automatic, the conducting students should practice these patterns and ges- tures diligently, watching themselves in a mirror or through videotaping, and eventually to be in front of an ensemble to effectively conduct and rehearse. Conducting an ensemble involves many things, not just the patterns and gestures. The stance and conducting position should be correct while practicing these patterns and gestures; otherwise these patterns and gestures become distorted. The arms and hands of the conductor should be forward and away from the body. There are many conducting patterns to be learned, including the asymmetrical patterns for modern music. These conducting pat- terns and gestures are very important in the process of conducting and rehearsing the instrumental music ensemble Along with these various conducting patterns and gestures come the ideas of maintaining the conducting plane and identifying the conducting box (or window) for the players. The players need to be able to view the conductor without much movement of the eyes or the head. All of these things seem rather basic, but unless these things are done correctly, the conducting tech- nique will not be effective for the advanced conductor in the rehearsal pro- cess. There ate many other aspects of the conducting technique that could be brought forth here. However, there are many excellent reference sources available in order to be able to grasp the details of the conducting technique Inner Singing I cannot stress the idea of inner singing enough! This technique and pro- cedure are everything to the advanced conductor. It is very often seen with young conductors that there is little or no connection between what the conducting technique looks like and the actual music being played. This is because they are not using the inner singing technique and procedure, There are no particular methods to be used in the development of this inner singing. It simply should be used audibly all of the time when studying the score andimage not availableimage not availableimage not available100 + Connection Nine an error-free score and the players are provided with various embedded errors in their parts in order for the student conductor to discover these and correct them during the rehearsal process So consequently, the advanced conductor should: (1) study the score me- ticulously, (2) plan for what is going to happen during the rehearsal proces and (3) then prepare as to what and how specifically w rehearse the ensemble. These three ingredients are necessary in order to be helpful in the rehearsal process. The conductor cannot anticipate every error or problem that may surface in the rehearsal process, but certainly can react to what does happen if these three preparations have been done. Many conductors will wait until the end of a phrase, passage, section, or that of the entire piece to make the correction(s), while others will im- mediately stop when an error of problem occurs. If the conductor's memory is strong or there are just a few errors in the selection, then the conductor may not need to “interrupt” the flow of the ensemble rehearsal process un- til there is an appropriate time and place. This is very important in order to keep the rehearsal moving forward. In some cases, the conductor may wish to wait until the following rehearsal to correct the error(s) or to solve the problem(s). Pethaps, after listening to the recording of the rehearsal, these corrections can also be done more effectively and efficiently. However, waiting too long to correct an ertor or solve a problem may cause the ensemble to reinforce this error or problem during the subsequent rehearsals, and then this makes it even more difficult to correct these ertors or problems before the concert performance A word of caution here—there are some conductors who try to correct, errors and solve problems by simply talking to the ensemble as the group continues to play. In most cases, this will not make for a good teaching and learn- ing situation. As the ensemble continues to play, while the conductor is tying to correct something, the players are now playing on into the next measure or section. The results are that the players are then not focused on what wa happening before. There could be a situation when the conductor might say a word or two and continue on, but this may or may not be effective overall. In some cases, the players may not hear what was said. Therefore, i to stop the ensemble and make the error correction or solve the problem. is best Solving Problems in the Rehearsal Process How are solving problems different than correcting errors in the rehearsal process? Correcting the errors should be a rather short-term situation. These might be note errors, thythm errors, articulation errors, style errors, or otherimage not availableimage not availableimage not available104 + Connection Nine rehearsed, then the musical interpretation should already be there. It is then important to continue this communication of the musical interpretation to the instrumental music ensemble during the subsequent rehearsals (and later to the audience in the concert performance). Discussions/Activities in the Conducting Classroom with the Advanced Conductor ny - Why is multitasking and awareness so important for the conductor dur- ing the instrumental music rehearsal process? The conducting technique should be clear and meaningful to the play- ers. This would be a good time to check on the advanced conducting students as to how the conducting technique is developing. (See ap- pendixes D and E—especially scenario no. | in the latter.) Have the conducting students demonstrate various aspects of the conducting technique. Inner singing by the conductor is extremely important in the reheai process. Explain how this inner singing acts as a conduit to the con- ducting technique, and then, subsequently, to the ensemble. Listening by the conductor is everything in the rehearsal process. The conductor should listen during the rehearsal process in order to make corrections and prepare for the following rehearsal. What kind of things should the conductor listen for in the rehearsal process? al Rehearsing involves many things. The conductor should bring to the rehearsal process all of his or her background and experience. Let us discuss some of these ideas and concepts to be employed in the rehearsal process. (Refer to Connection Fifteen, “Teaching through Performance Concepts.”) A large part of rehearsing the instrumental music ensemble is being able to communicate various ideas and concepts to the ensemble. (Check out Connection Thirteen, “Words to Live By,” and Connec- tion Fifteen, “Teaching through Performance Concepts.”) So how are you going to do this specifically? During the rehearsal process, how and when will you confront these various errors or prablems withia the ensemble? Why is this crucial for the pacing of the rehearsal process? What kind of erro rehearsal process? What kind of teaching strategies will you use to cor or problems might occur in the instrumental music rect these errors or problems? (Refer to Connection Fifteen as well.)image not availableimage not availableimage not available108 + Connection Ten that the player doing the modeling is capable of producing a good model for the imitation. If the conductor does the modeling, then this can take on several versions. The conductor may decide to talk, sing the model, or play the model on his or her major instrument. The main problem here is that this instrument needs to be in proximity in order to retrieve this instrument. The conductor should be a good and accurate player, so that the model is presented well for the players involved in the imitation. The conductor will lose some respect and credibility with the ensemble if this modeling by the conductor is done poorly Now the imitation is also very important. What has to happen is that the ensemble and/or certain players in the ensemble must listen carefully to the model in order to imitate it properly. This may seem like rote learning, but the difference between imitation and rote learning is that in the imitation, the players involved must listen so that they can reproduce the part cor- rectly and/or musically. In rote learning, it is simply a case of repeating the part until it is, hopefully, correct. Actually, in rote learning, there is very little listening involved. The imitation should be used basically for some specific pri- orities in mind such as that of tone, style, intonation, phrasing, articulation, bowing, or whatever priorities might profit from the modeling and imitation procedure: In the final analysis, the conductor should provide feedback to the en- semble in terms of the success or failure of the playing. The ensemble expects this to happen. If the conductor does not provide this feedback then the ensemble is “left hanging.” The ensemble collectively does not know ij the perfor- ‘mance is good or wnsatisfactory in the mind of the conductor. The ensemble may then conclude that the conductor does not really know if the performance was satisfactory. This also leads to a loss of conductor credibility. If the en- semble playing is satisfactory, then the conductor could express this in some positive manner to the ensemble. In some cases, a simple “thank you” may be enough. Let us take a closer look at the conductor demonstrations, the modeling/imitation, and the conductor feedback aspects. Conductor Demonstrations With the conductor demonstrations, no matter what procedure is used, it should begin immediately after stopping the ensemble. If it does not, there is a good chance that the momentum of the rehearsal process will slacken, and with some danger of the ensemble concentration being lost. Then after this conductor demonstration is completed, the conductor should immediately state where he or she wants to have the ensemble begin. If there is too much lapse ofimage not availableimage not availableimage not available~ Connection Ten, 9. Let us talk about the whole idea of feedback during the rehearsal process. Select a particular error or performance problem in terms of what you might say or do to correct the error or solve an ongoing problem with the feedback. 10. Why is feedback so important during the rehearsal process for both the conductor and the ensemble? 11. If the conductor does not provide feedback after stopping the en- semble, then the players have no idea whether or not the passage was played correctly or the problem was solved. In some cases, this causes the ensemble to develop some insecurity about the whole rehearsal process. The conductor needs to be very decisive and clear about providing this feedback information. Give some examples of how this feedback should be done.image not availableimage not availableimage not available116 > Connection Eleven, So why is the conducting technique so important in all of this? The con- ducting technique should be the main guide for the ensemble. If the conduc- tor is a “time-beater,” then the conductor is not giving the ensemble any real help in the rehearsal process. However, if the conductor has developed the conducting technique so that the ensemble responds both technically and musically to the conducting technique, then this type of communication will be quite effective. Communicating Verbally Now, let us move on to the verbal zation in the rehearsal process, and that includes talking, singing, or playing by the conductor. Well, we are all aware of what is involved with talking as a means of communication in the rehearsal process. The singing in the rehearsal process is @ little more of a problem, at least for some young conductors. Some conductors are reluctant to sing in front of the ensemble because they may not sound so good. Do not worry too muc formance that the conductor can indicate verbally to the ensemble without about this, because there are many aspects of the per- being perfectly in tune or lacking good voice quality What is most important is the rhythmic aspect in showing this to the ensemble verbally during the rehearsal process! Therefore, the singing can show many things to the players including the phrasing, the style, the musical interpreta- tion, the articulation, the accents, the rhythm, and the tempo. This singing is in a sense just like the conductor does with inner singing (but audibly) in that it provides the basis for achieving the necessary musicality. What are the elements of this musicality that the conductor might com- municate verbally during the rehearsal process? The phrasing The rhythms The accents The dynamics The styles 6. The musical line The tempo . The nuances yeene an 9. The musical expression 10. The ensemble precision 11. The articulation, the bowings, and the bowing styles 12. The musical interpretationThe Communication —~ 117 1 list these elements in no particular order, because in the conducting and rehearsing the music during the rehearsal process, these elements occur in no particular order. Therefore, the conductor should communicate these verbal elements to the ensemble as they appear during the rehearsal process. All of these elements happen irregularly during this time. The modeling and imitation procedure is also a part of this verbal communication. A selected player or players can model the musical passage to be imitated or the conductor can do this if his or her major instrument is close by. Finally, communicating musi- cally involves many things that the conductor should do during the rehearsal process. Let us take a look at this idea of communicating musically during the rehearsal process. Communicating Musically Communicating musically does require the conductor to be musical him- or herself. This musical communication is acquired through the conductor's background and training. However, the conductor should also put forth great effort to learn to conduct and rehearse musically. So whet is involved in this idea of conducting and rehearsing musically? First, let us look at the con- ducting aspect in terms of the musicality. The advanced conductor should be aware of these many musical aspects of the conducting technique. Much of the conducting technique should be automatic. How is this acquired? The answer is “through practice,” but certainly this conducting technique needs 10 be performed correctly! Practicing incorrectly simply adds more problems to what is trying to be achieved by the advanced conductor with the conducting technique. Hopefully, in the first (or the initial) conducting course, the con- ducting teacher will make certain that all of the conducting students have acquired this correct conducting technique. However, many conducting teachers obviously do not take this responsibility seriously enough. It is not a part of this book to go into these specific conducting-technique problems as the focus of this book is on the rehearsing of the instrumental music ensemble. | realize, however, that the conducting technique is a very important part in the execution of these patterns and gestures. When the conducting technique is in place, then the conductor can begin to include those adjustments to the patterns and gestures that are necessary in order to conduct musically. This, of course, is accomplished mainly through the idea of inner singing! Now, make sure that you are inner singing while conducting. Then follow this inner singing into how the conducting technique is being executed. Whatever you do with the inner singing, show this musicality with the conducting technique. Here is the secret to good conducting! This will cause118 > Connection Eleven, you to communicate musically. So | hope you see how important it is to do this inner singing when you are conducting the instrumental music ensemble repertoire. It really is everything in terms of conducting musically. [ think I have made my point here about inner singing and the connection with con- ducting musically. There are no particular exercises or methods to be used in developing this inner-singing idea. It comes from actually doing the inner singing while you are conducting. This procedure can then be practiced dur- ing the score study and through the application of the music imagery with the specific repertoire during the conducting practice. Since you are now in the process of practicing this conducting, you need to be standing up with the proper stance and conducting position (as dis- cussed earlier in this book). If this is not done correctly then the conducting patterns and gestures become distorted and ineffective. This entire procedure means that you now have to be conducting the actual music. Alll of this de- pends on the fact that the conductor is conducting the specific music through inner singing in order to present the music to the ensemble through the conducting tech- nique. The results of this will be a “musical” performance! Discussions/Activities in the Conducting Classroom with the Advanced Conductor 1. Realize that the conducting technique, verbal communication, and musical communication with the instrumental ensemble will require the advanced conductor to plan and prepare for this communication. Discuss what is involved with this planning and preparation. » Having developed the conducting technique well will be a very impor- tant preparation for the advanced conductor. So the advanced conduc- tor should be continuously checking that the conducting technique is showing what is needed. Discuss some of these various conducting- technique problems. 3. Have you seen bad habits appear with a conductor over a period of time? List some of these bad habits. 4. Suppose the conductor stops the ensemble to correct a rhythmic error. What will determine what the conductor does or says? 5. Communicating musically is without a doubt one of the most important things to do during the rehearsal process. Discuss what is involved here. 6. In communicating musically, you will need to have conceived the musi- cal interpretation. What is involved with this interpretation connection?S - Why do | . Rehearsing musically involves the showing of the patterns and ges The Communication 119. Probably the most effective and efficient way of communicating musically in the rehearsal process is through inner singing by the conductor. How does inner singing connect with the musical com- munication? ay, “Inner singing is the secret to good conducting tech- nique”? Discuss this idea thoroughly. . In communicating with the players, it may be efficient to ask them questions in order to clear up any misunderstanding they may have during the rehearsal process. Talk about this rehearsal idea. ures clearly as well as the actual rehearsing verbally with the instru- mental music ensemble. So how would both of these ideas help the conductor during the rehearsal process in rehearsing the ensemble musically?aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this 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