Fundamentals of Rehearsing Music Ensembles
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Fundamentals of Rehearsing Music Ensembles
The University of North Carolina at Chapel Hill
Informações sobre o curso
4.8
213 classificações
Learn and practice the basic principles of running an effective music ensemble rehearsal. Techniques and strategies are applicable to a variety of ensembles, including bands, orchestras, choirs, and chamber groups.
Programa - O que você aprenderá com este curso
Week
1An Introduction to Rehearsing
This week, Module 1, we’ll discuss basic philosophical issues such as: What we do in rehearsals, what skills are needed, and the idea of the conductor as “the composer’s advocate.” I will also introduce the concept of Macro-Micro-Macro, which serves as the overarching principle of rehearsals. Then we will move on to basic conducting technique.
21 vídeos (Total de 167 min), 1 teste
21 videos
Introduction4min
What Do We Do in Rehearsals?9min
What Skills Do We Need?3min
Calibrating Your Ears6min
Serving as the Composer’s Advocate15min
A Choral Perspective: The Rehearsal Process4min
An Orchestral Perspective: Three Categories of Conducting11min
Introduction to Conducting5min
Basic Set-Up5min
Conducting without a Baton5min
Baton Grip5min
Basic Patterns21min
Active and Passive Beats6min
Starting Pieces8min
Ending Pieces6min
The Ensembles that Appear in this Course1min
Macro-Micro-Macro: The Basic Process5min
Examples of Macro-Micro-Macro: Breaking Things Down7min
A Choral Perspective: Teaching Notes8min
Rehearsal Demos: Macro-Micro-Macro24min
Conclusionmin
1 exercício prático
Module 1 Quiz20min
Week
2Communicating with the Ensemble
Module 2 begins with a discussion about repertoire: how to define quality music and how to choose a balanced, musically nourishing program. Building on the topics of Module 1, this week’s conducting technique videos focus on the grammar for starting and stopping pieces. In the rehearsal technique videos, the overarching topic is how to communicate with the ensemble to convey musical intent. Essentially, the idea is to give musical instruction, but there are a range of strategies we must master to be effective in all situations.This week introduces those strategies and organizes them according to modes of instruction, including performance technique, adjectives, analogy, and modeling.
17 vídeos (Total de 114 min), 1 teste
17 videos
Introductionmin
Finding Quality9min
Choosing Repertoire: The Musical Meal6min
A Choral and Orchestral Perspective: Repertoire24min
Count-offs: Additional Ways to Begin a Piece4min
Rehearsal Examples: Starting on Various Beats within a Measure4min
Stopping the Group3min
Changing the Size of the Pattern Based on the Music5min
Introduction to Rehearsal Segmentsmin
Directing People's Attention in Rehearsal3min
Who, Where, What / Measure Numbers / "Count with Me"6min
Using "I" and "We"5min
Insisting on What You Want2min
Strategies for Communicating Musical Ideas9min
Communicating with Various Modes of Instruction9min
A Choral and Orchestral Perspective (Multiple Topics)14min
Conclusion1min
1 exercício prático
Module 2 Quiz20min
Week
3Introducing the Rehearsal Toolkit
Week 3’s material begins with more left hand technique, expanding on the concepts introduced in Module 2 and continuing with gestures to show dynamics. The section on rehearsal technique begins with an explanation of the ‘Rehearsal Toolkit,” a collection of ideas, or “tools,” each designed to fix a musical issue. Rehearsal tools are meant to supplement the modes of instruction that were discussed last week. In other words, in addition to using direct vocabulary, modeling, and metaphor and analogy, these tools can elicit musical responses when gesture and words fail. A caveat: all of these approaches depend on the musicians having the technique required to perform the repertoire. This may seem obvious, but the fanciest baton twirl and colorful analogy are meaningless to help, say, a trumpeter, perform staccato if he does not tongue properly and employ good embouchure. Fundamentals must be taught, either in or out of the rehearsal, and the appropriate method depends on the level and age of the musician in the ensemble.Module 3 concludes with multi-purpose tools, including singing and “bopping.” These are the Swiss-Army knives of rehearsal technique, each useful for a variety of issues, from articulation to balance to rhythm. As you acquire the tools discussed in this module, also consider what else you can put in your toolbox. What techniques do you currently use? What tools can you borrow from other musicians? The more options we have in rehearsal the more likely we will be to solve a musical problem.
25 vídeos (Total de 183 min), 2 testes
25 videos
Introductionmin
Introduction to Left Hand Technique: Statue and Mirroring4min
More Left Hand Technique: Statue, Mirroring, and Independence6min
Demos of the Left Hand in Rehearsal1min
Showing Dynamics and Dynamic Changes12min
The Importance of Technique as a Foundation4min
The Rehearsal Toolkit: Rhythm1min
Teaching Subdivision: Filling in the Rests3min
Thinking in Rhythmic Subdivisions12min
“Playing” without Sound: Active Resting and Handoffs8min
Working with Contrasting Rhythmic Layers5min
Cleaning Up Sloppy Entrances2min
Rests as Elements of Expression2min
Rushing6min
Meter, Accents, and Perception10min
Rhythmic Compression5min
A Choral and Orchestral Perspective: Rhythm16min
Multi-Purpose Techniques4min
Rehearsal Demos: Bopping Part I11min
Rehearsal Demos: Bopping Part II7min
Rehearsal Demos: Using Singing7min
Rehearsal Demos: Slowing Down the Tempo for Rhythm and Accuracy21min
Rehearsal Demos: Slowing Down the Tempo for Intonation and Balance7min
Rehearsal Demos: Slowing Down the Tempo for Articulation and Style14min
Conclusion1min
1 exercício prático
Module 3 Quiz20min
Week
4Articulation, Balance, and Tone
Module 4 begins with perhaps the most crucial task a conductor undertakes: score study. Score study is the umbrella term for the process of thoroughly learning a score-- not just knowing how to sing the melody or memorizing phrases and meters--but learning every aspect of the music that may come to bear on our ability to interpret, conduct, rehearse, and perform it. Unlike many grammatical aspects of conducting, score study is a time-consuming, immersive activity for which it is normal to develop one’s own process, assuming the end result is a deep understanding of the work.
After score study, Module 4 moves back to the grammar of conducting, particularly technique for conducting articulations. Please note that this week also contains a very brief introduction to the three types of fermatas. In Module 5 we’ll cover them in detail. These are topics for which regular practice and self-evaluation will be necessary to develop gestures that are clear to the ensemble and second-nature to the conductor.
Finally, we will return to “The Rehearsal Toolkit” and explore strategies for rehearsing articulation, balance, and tone. This final topic includes a video on using the piano to demonstrate harmonies and other musical features to the ensemble. Particularly in educational settings, it is important for the conductor to do more than treat the ensemble as his personal musical instrument. Instead, find opportunities to lead ensembles to an understanding of the music it is performing, a goal that only score study makes possible.
28 vídeos (Total de 273 min), 1 teste
28 videos
Introductionmin
Score Study22min
Applying Your Score Study8min
A Choral and Orchestral Perspective: Score Study23min
Applying Score Study to a Rehearsal26min
Cues14min
Conducting Articulations: Legato7min
Conducting Articulations: Two Variations on Legato2min
Conducting Articulations: Staccato and Accents8min
Conducting Fermatas and Rubato2min
Specific Choral Conducting Techniques16min
Specific String Conducting Techniques7min
Review: Two Themes of the Course3min
Exaggerating Style and Expressive Details5min
The Vocabulary of Articulation10min
Articulation: Accentuation through Emphasis and De-Emphasis3min
Bopping for Articulation1min
Developing a Legato Style4min
19th-Century Style with 21st-Century Ensembles8min
Additional Articulation Techniques10min
A Choral Perspective: Articulation and Diction11min
An Orchestral Perspective: String Articulation and Bowing16min
Balance and Tone16min
A Choral & Orchestral Perspective: Balance and Tone21min
Working with Dissonance3min
Using the Piano to Demonstrate Complex Harmonies7min
Where to Begin When You Don’t Know Where to Begin8min
Conclusionmin
1 exercício prático
Module 4 Quiz20min
4.8
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Melhores avaliações
por SS•Sep 11th 2017
This was an interesting and very useful course. Directors responsible for rehearsing ensembles will enjoy learning techniques, and even experienced conductors will benefit from revision and sharing.
por TB•Aug 28th 2015
This is a great course and also flexible to needs of students. If you get behind, the course is built to help you get back on track. I find this extremely helpful with a busy and irregular schedule.
Instrutores
Dr. Evan Feldman
Associate Professor & Wind Ensemble ConductorMusic
Sobre The University of North Carolina at Chapel Hill
The University of North Carolina at Chapel Hill, the nation’s first public university, is known around the world for innovative teaching and research. Regularly ranked as the nation’s best value for academic quality, UNC has produced the most Rhodes Scholars for the past 25 years among U.S. public research universities.
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