Beyond Conducting: A Basic Conducting and Rehearsal Techniques Refresher Florida Music Educator’s Association 2016 Professional Development Conference Tampa Convention Center – Room 5 Tampa, Florida Friday, January 15, 2016 11:45 A.M. – 12:45 P.M.
Douglas L. Phillips, D.M.A. Director of Bands Assistant Professor of Music, Conducting Stetson University School of Music [email protected] 386-822-8951
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As we all know, there is much more to being a successful ensemble director/conductor/ teacher than just “conducting.” We must have a thorough knowledge of the music and the appropriate skills to needed convey the music to our students. Just as when we play our instrument, we are the composer’s advocate. The only difference is that we are communicating these ideas to an ensemble, which is ultimately is “our instrument” too.
Most students join band or orchestra because they are excited about playing an instrument… not just to hear us talk. The more successful we are at engaging our students both verbally and non-verbally, the more students get to play their instruments and have additional opportunities for both guided and self discovery.
As Dr. Madsen says in his book Contemporary Music Education, it is not a question of IF with regard to student independence, but WHEN. This concept should of course be a cornerstone in our ensemble and music programs at all times.
Ultimately, it is our responsibility to do whatever it takes to educate our students about the joy of discovery during rehearsal and performance. However, utilizing our skills as accomplished conductors and musicians can only make the process easier and ultimately more enjoyable for our students and for us.
Today’s workshop will address the following topics, with the desired outcome of more efficient and effective non-verbal communication during rehearsal and performance:
Review of Basic Conducting Techniques
Score Study and Preparation
Effective Rehearsal Strategies & Techniques
1 Review of Basic Conducting Techniques (various items excerpted from The Art of Conducting by Hunsberger and Ernst)
POSTURE – Four Elements of Correct Posture 1. ______2. ______3. ______4. ______
USING THE BATON 1. The Importance of the Baton
2. Baton Grip
3. Problems with the Grip
4. Analyzing Your Grip
PREPARATORY & RELEASE GESTURES (Beat) 1. ______2. ______3. ______4. ______
PATTERNS and PATTERN CLARITY
STYLE and ARTICULATION
DYNAMICS
CUES
Score Study and Preparation
1. What most people don’t do, and why? 2. How to learn a score - analysis, etc. 3. Marking the score. 4. What does it mean to internalize the score, the music? 5. Listening to other works of the composer. 6. The role of listening to become an effective conductor.
2 Effective Rehearsal Strategies & Techniques
The Three Parts of Rehearsal:
1. Ensemble Training: (both fundamentals and musical approach) a. ______b. ______c. ______d. ______
2. Learning the Composition: a. ______b. ______
3. Final Preparation for Performance: a. ______
The Ensemble “Warm-Up” Portion of Rehearsal
What does warm-up actually mean? What is involved?
How much time should be devoted to warm-up?
The need to avoid routine. Teaching during warm-up?
Warm-up obviously comes at the beginning of the rehearsal. This is the most important time of the rehearsal because it establishes the attitude for the entire rehearsal.
Additional Thoughts, Observations, and Techniques on Rehearsal
In all situations, and at all levels, the rehearsal objective is the same:
______
The fundamentals of ensemble performance:
______
Every rehearsal should be a continuing process of:
______
The ideal rehearsal will concentrate heavily on:
______
3 The difference between short-range problems and long-range problems:
______
______
The difference between knowledge and skill:
______
______
What do you bring to the rehearsal?
What do you expect?
What do you anticipate?
Don’t let your students do music for you. Insist that they do it for themselves.
A successful teacher/conductor of instrumental music must possess a high level of aural acuity, an analytical mind, and the ability to instill in student musicians the desire to excel:
1. ______
2. ______
3. ______
4. ______
So what… why does all of this matter?
As John Dewey suggests, the ultimate goal of the study and performance of music, more specifically art music, is the experience (humanity) that is embodied in the composition. For our students to “get the experience,” what is on the page must take life as the composer intended. It is our job to guide our students to help them experience the joy of discovery during rehearsal and performance.
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