Fundamentals of Rehearsing Music Ensembles

Syllabus - What you will learn from this course

1

Section

3 hours to complete

An 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 videos (Total 167 min), 1 quiz

21 videos

Introduction4m

What Do We Do in Rehearsals?9m

What Skills Do We Need?3m

Calibrating Your Ears6m

Serving as the Composer’s Advocate15m

A Choral Perspective: The Rehearsal Process4m

An Orchestral Perspective: Three Categories of Conducting11m

Introduction to Conducting5m

Basic Set-Up5m

Conducting without a Baton5m

Baton Grip5m

Basic Patterns21m

Active and Passive Beats6m

Starting Pieces8m

Ending Pieces6m

The Ensembles that Appear in this Course1m

Macro-Micro-Macro: The Basic Process5m

Examples of Macro-Micro-Macro: Breaking Things Down7m

A Choral Perspective: Teaching Notes8m

Rehearsal Demos: Macro-Micro-Macro24m

Conclusion0m

1 practice exercises

Module 1 Quiz20m

2

Section

2 hours to complete

Communicating 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 videos (Total 114 min), 1 quiz

17 videos

Introduction0m

Finding Quality9m

Choosing Repertoire: The Musical Meal6m

A Choral and Orchestral Perspective: Repertoire24m

Count-offs: Additional Ways to Begin a Piece4m

Rehearsal Examples: Starting on Various Beats within a Measure4m

Stopping the Group3m

Changing the Size of the Pattern Based on the Music5m

Introduction to Rehearsal Segments0m

Directing People's Attention in Rehearsal3m

Who, Where, What / Measure Numbers / "Count with Me"6m

Using "I" and "We"5m

Insisting on What You Want2m

Strategies for Communicating Musical Ideas9m

Communicating with Various Modes of Instruction9m

A Choral and Orchestral Perspective (Multiple Topics)14m

Conclusion1m

1 practice exercises

Module 2 Quiz20m

3

Section

5 hours to complete

Introducing 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 videos (Total 183 min), 2 quizzes

25 videos

Introduction0m

Introduction to Left Hand Technique: Statue and Mirroring4m

More Left Hand Technique: Statue, Mirroring, and Independence6m

Demos of the Left Hand in Rehearsal1m

Showing Dynamics and Dynamic Changes12m

The Importance of Technique as a Foundation4m

The Rehearsal Toolkit: Rhythm1m

Teaching Subdivision: Filling in the Rests3m

Thinking in Rhythmic Subdivisions12m

“Playing” without Sound: Active Resting and Handoffs8m

Working with Contrasting Rhythmic Layers5m

Cleaning Up Sloppy Entrances2m

Rests as Elements of Expression2m

Rushing6m

Meter, Accents, and Perception10m

Rhythmic Compression5m

A Choral and Orchestral Perspective: Rhythm16m

Multi-Purpose Techniques4m

Rehearsal Demos: Bopping Part I11m

Rehearsal Demos: Bopping Part II7m

Rehearsal Demos: Using Singing7m

Rehearsal Demos: Slowing Down the Tempo for Rhythm and Accuracy21m

Rehearsal Demos: Slowing Down the Tempo for Intonation and Balance7m

Rehearsal Demos: Slowing Down the Tempo for Articulation and Style14m

Conclusion1m

1 practice exercises

Module 3 Quiz20m

4

Section

5 hours to complete

Articulation, 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 videos (Total 273 min), 1 quiz

28 videos

Introduction0m

Score Study22m

Applying Your Score Study8m

A Choral and Orchestral Perspective: Score Study23m

Applying Score Study to a Rehearsal26m

Cues14m

Conducting Articulations: Legato7m

Conducting Articulations: Two Variations on Legato2m

Conducting Articulations: Staccato and Accents8m

Conducting Fermatas and Rubato2m

Specific Choral Conducting Techniques16m

Specific String Conducting Techniques7m

Review: Two Themes of the Course3m

Exaggerating Style and Expressive Details5m

The Vocabulary of Articulation10m

Articulation: Accentuation through Emphasis and De-Emphasis3m

Bopping for Articulation1m

Developing a Legato Style4m

19th-Century Style with 21st-Century Ensembles8m

Additional Articulation Techniques10m

A Choral Perspective: Articulation and Diction11m

An Orchestral Perspective: String Articulation and Bowing16m

Balance and Tone16m

A Choral & Orchestral Perspective: Balance and Tone21m

Working with Dissonance3m

Using the Piano to Demonstrate Complex Harmonies7m

Where to Begin When You Don’t Know Where to Begin8m

Conclusion0m

1 practice exercises

Module 4 Quiz20m

5

Section

3 hours to complete

Phrasing

Module 5 begins with a discussion about score marking, a topic that is controversial by some ways of thinking. One school of thought suggests that scores should never be marked with cues and other information, since doing so reflects a deficit in score study on the piece. Another school believes that judicious marking enhances our efficiency in rehearsal and allows for better connection with the ensemble. This module also includes detailed explanations of the three types of fermatas that were introduced in Module 4: caesura, release-in-tempo, and continuation. It is worth spending extra time on these techniques, as the skills involved in preparing, sustaining, and releasing each one apply to a variety of conducting situations, including cues, rubato, and accompanimental conducting. For rehearsal strategies and the rehearsal toolkit our topics are phrasing and dynamics. As with many other topics in this class we can only touch the surface in terms of depth, but I hope there will be a few ideas to begin filling your rehearsal toolkit....

26 videos (Total 156 min), 1 quiz

26 videos

Introduction0m

Score Marking14m

An Orchestral Perspective: Score Marking8m

Caesura Fermatas10m

Release-in-Tempo Fermatas10m

Continuation Fermatas8m

Introduction to Phrasing1m

Conducting Phrases7m

Phrasing: Shaping a Melody3m

Shaping an Accompaniment3m

Four-Measure Phrases15m

Phrasing and Accentuating Rhythmic Accompaniment Lines3m

Trade-offs: Matching Style and Musicianship2m

Smoothing Melodic Leaps and Developing a Legato Sound4m

More Phrasing Ideas14m

Chamber Group Mentality within the Large Ensemble3m

Orchestral Perspective: Phrasing3m

Working on Dynamic Contrasts4m

Emphasizing Style and Dynamic Changes4m

Dynamics vs. Orchestration2m

Conservation of Dynamics: Creating the Illusion of a Longer Crescendo Through Micro Crescendos1m

Bringing Out Melodic Details: Contrapuntal Dynamics1m

Improving Crescendos and the Subito Piano4m

Refining the Fortepiano2m

A Choral and Orchestral Perspective: Dynamics15m

Conclusion0m

1 practice exercises

Module 5 Quiz20m

6

Section

3 hours to complete

Accompanimental Conducting and Intonation

Module 6 (our final week!) begins with a brief discussion about planning rehearsals, moves to techniques for accompanimental conducting, and then dips into the Rehearsal Toolkit for intonation strategies. The intonation section includes an introduction to overtones, harmonics, and temperaments. These are acoustic concepts for which at least a basic understanding is useful for knowing how to achieve good pitch. It’s a fascinating topic, and a great example of how we can apply science to art. The final few videos cover a miscellanea of rehearsal topics, including protecting one’s ears, the use of a podium, and set-up issues....

21 videos (Total 144 min), 2 readings, 1 quiz

21 videos

Introduction0m

Planning Rehearsals8m

Communicating the Rehearsal Plan to the Group3m

Using Recordings in Rehearsal4m

Accompanimental Conducting4m

An Orchestral Perspective: Accompanimental Conducting Issues7m

Additional Issues for Conducting Soloists: Float & Drop, Over-conducting!6m

Working with an Accompanist7m

Overtones, Temperaments, and Drones15m

General Tips for Improving Intonation4m

Addressing Intonation Issues11m

Additional Rehearsal Techniques for Improving Intonation: Part I5m

Additional Rehearsal Techniques for Improving Intonation: Part II15m

Additional Thoughts About Intonation4m

A Choral Perspective: Intonation11m

An Orchestral Perspective: Intonation6m

Set-up Strategies5m

Using Your Voice in Rehearsal4m

Health issues: Protecting Your Ears6m

Podium Talk5m

Conclusion1m

2 readings

Biographies10m

Additional Resources10m

1 practice exercises

Module 6 Quiz20m

Fundamentals of Rehearsing Music Ensembles