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Gustavus Adolphus
College |
Minnesota Board of Teaching
Program Approval 2006 |
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MUS 387 - Instrumental Conducting |
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Instrumental ConductingMU 387—Syllabus Spring, 2006FAM 106 11:30 – 12:20 AM MWF Dr. Douglas Nimmo
MU 387: Instrumental Conducting II Mu 106 MWF, 11:30-12:20 February 6 - May 17 2006
Texts: Basic Conducting Techniques, Joseph A. Labuta MLR Instrumental Score Reading Program, James Froseth & Richard Grunow Third Suite (complete score), Robert Jager The Best Elementary Music for Band, Dvorak, Thomas. The Best High School Music for Band, Dvorak, Thomas. The University of Iowa Guide to Selected Wind and Percussion Materials, Yeats, Paul, Editor, Eble Music Co., Iowa City, IA, 1992
OUTCOMES
The student will:
1. Demonstrate useful and evolving "podium technique," utilizing skills of baton management, appropriate style, and effective body and face communication.
2. Demonstrate a competent and evolving skill level of aural sensitivity, insight, discrimination and perception. These skills will include topics of pitch, balance, blend, attack/release, rhythm and rhythmic energy, pulse, harmony and dissonance, balance and blend, form and architecture, shaping of single notes and phrases, tempo.
3. Demonstrate useful and effective interpersonal skills of rehearsal management. Such skills will include rehearsal pacing, musical inclusivity/awareness, respect for students, keeping music goals as the prioity.
4. Demonstrate a working knowledge of score analysis, including form, harmony, appropriate "markings," rehearsal preparation, "trouble spots," meter analysis, cueing, stylistic considerations.
General Objectives: Following completion of this course, the student will be able to:
1. Demonstrate proper "neutral beat" patterns for time signatures in 1, 2, 3, 4, 5, 6, 7, 9, & 12
2. Execute proper cuing techniques of the right and left hand
3. Demonstrate effective conducting of fermatas, tempo changes, and dynamics
4. Execute proper technique when conducting in various styles
5. Conduct mixed meter and asymmetrical examples
6. List the proper sounding transpositions for the various standard band and orchestra instruments
7. List the proper transpositions between various standard band and orchestra instruments
8. Define commonly employed musical terms and markings in a score
9. State various aspects of score memory
10. Explain a useful method for balancing a large ensemble (balance vs. blend); McBeth and others
11. Explain a useful method for tuning a large ensemble
12. Identify errors of pitch, rhythm , notes, etc., in taped instrumental performance (planned errors)
13. Identify aural intervals of various instruments (via taped examples)
14. Outline a step-by-step plan for preparing, studying, and learning a new score
15. Outline a step-by-step plan for preparing, studying, and executing a rehearsal
16. Identify various "paper tasks" that are inherent in the job of a conductor
17. Identify fundamental concepts of aesthetic teaching from the podium
18. Outline musical form as needed and valued by the conductor
197. Demonstrate an evolving knowledge of fine literature for various levels of band and orchestra. (assessment via programming project)
20. Perform various parts from a musical score at the keyboard. (part of mid-term and final exam projects)
21. Demonstrate physical response to music through movement. (Weekly class live conducting exercises via test examples.) Midterm and final exams will consist of video taped exams on prepared projects, to include Frank Erickson’s TOCCATA FOR BAND, and Robert Jager’s THIRD SUITE. 22. Interpret scores designed for instrumental ensembles and understand. (Assessment via mock rehearsals, and arranging/transposition/mock rehearsal project)
23. Interpret combined vocal/instrumental scores and understand vocal requirements necessary for interpreting and producing music from scores. (instrumental/choral literature discussions, implementing choral conductor)
24. Demonstrate knowledge and skills or performance pedagogy for percussion, string and wind instruments. (assessment via mock rehearsals).
Minnesota State Standards (Fall, 2005) Instrumental Conducting
All Music teachers must have the ability to:
A teacher of instrumental music must:
All teachers of music must demonstrate an understanding of the teaching of music that integrates understanding of pedagogy, students, learning, classroom management, and professional development. The teacher of music shall:
Putting It Together . . .
We will study more about rhythm--how it creates energy and momentum, pulse and direction.
More of harmony and dissonance--how they create mood, tension, resolution and focus.
Further, we will learn more about balance in music (which seems to symbolize balance in life) and about the attack or onset of a note, the nurturing and development of that note, the release of that note. These are events in music that are similar to events in our lives. Beginning, middle, end; seasons; times.
We will learn of movement through space and time at many changing and varied speeds. And about duration, range, intensity, note shape, follow-through.
About nudging a phrase, lifting a note off the page at the point of release--bringing it to a fulfilling conclusion. And we will learn about the value of lingering a bit before resolving harmonic dissonance. We will learn a lot more about what it means to be actively listening, becoming aware of how sounds create lasting impact upon us in ways that are unique.
We will learn about creativity, imagination, and wonder. About taking risks--about getting "caught up" in the process of spinning out music, and about having no words to adequately describe the fulfillment one may possess because of a personal experience with a single piece of music. Class Activities
1. Apply text and handout information to lab settings
2. Analyze peers and others as they conduct
3. Conduct singly and as a group
4. Improve aural skill via interval identification, score memory, and error detection
Traffic Code: (general, and subject to change as needed)
Week Study 1 Orientation, preassessment, The Concert or "What Have I Gotten Myself Into?"; Projects Discussion (Jager Midterm), Gooz; Module 13 (Rehearsal & ScorPrep - M & W); Jager movement analysis (F); The Concert assignment due (M-2); Tuning the large ensemble 2 Aural Study (AUS--MLR Session 6 - M) & Gooz, Mock Rehearsal I (W-F): Choose any of the Section 2 examples (pp. 69-80—narrative; 85-98--examples); Balancing the Large Ensemble (McBeth--F) >>>>>Selections for Final Project are due. 3 AUS (Interval Identification), Mock Rehearsal I (with errors) (W-F): Choose any of the Section 3 examples (pp. 82-89), Keyboard part-playing (Jager) 4 AUS, trans test, score terms, Mock Rehearsal II (W-F): Choose any of the Section 4, 5, or 6 examples (pp. 90-109) 5 Literature: What makes a great piece at any level?--solos/ensembles; Terms test (W), AUS, Gooz 6 Jager Tapes are Due (Mid-Term)—W (March 15) Trans (scoring)--due on Friday, after Spring Break return); ); Planning the concert—listening to great literature, making the selections. 7 Jazz Styles, rehearsal procedure (W & F) 8 Introduction of Final: Prepare piece to conduct from selected list(form analysis, history, conducting problems/challenges, “live” conducted final, written and oral class feedback provided); Literature: What makes a great piece at any level? , F 9 Mock Rehearsal III (transposition, scoring—see Week 6) 10 Aesthetics in the Rehearsal (Barrie Wells's tape and HO) - M; Grading of Literature - personal and publisher estimations (W & F) 11 MLR Session 7 (M); Mock Rehearsal IV ( trans/arranging--W-F-M): Compose or arrange your own brief piece for the class ensemble. 12 Ear: See Journal Notes; Conductor concert and rehearsal analyses due; Score order test: Orchestra and Band 13 Final Presentations (Final)--M, W, F 14 Final Presentations continue; Have we covered everything?
Attendance: Attendance at each class meeting is required--three unexcused absences will result in the student's letter grade being lowered one full mark.
Grading: a) Major Exam Projects 2 @ 25% each (50%) b) Class Conducting and preparation 20% c) Projects 20% d) Attendance 10% Grading (assessment) is, at best, a challenging task. With regard to music study, the process of assessment includes both objectivity and a considerable amount of subjectivity. Nevertheless, both are valid means of assessment. Your efforts will be assessed with regard to your overt preparation for class activities and participation in those activities, as well as more objective test results. In the larger sense, consideration will include, but may not be limited to the following subjective questions:
1. Is she prepared to conduct today? 2. Has he practiced the part? 3. Is this an improvement from the last time she conducted? 4. Is there a growing sense of confidence & understanding regarding the score? 5. Is the conducting easily understood by the performing musicians? 6. Is there a strong and growing sense of enthusiasm for the process of conducting?
Although the mid-term and final projects will carry great grading “weight,” your class preparation and participation are critical. I expect that you will read, rehearse, and share in class your thinking on all your preparation. Clearly, a portion of my evaluation of your contribution in this manner is subjective. Nevertheless, the class is intended to be largely lab-focused, particularly as the weeks pass. Although objective factual knowledge is an important part of the class, my intent is to promote as much “hands on” conducting as possible.
Remember: A minimum passing grade of C- is required for all music majors and minors.
Non-Class Activity Attendance at one non-GAC instrumental concert (for analysis purposes) Attendance at one non-GAC instrumental rehearsal " " "
Statement of Reading and UnderstandingIt is very important to me that you read and understand my expectations of you as a student in Instrumental Conducting Class—MUSIC 387 (Course Syllabus/Traffic Code), including the grading/assessment policy. Each student is responsible for his or her own education. Reading and understanding the class documents are a cornerstone of such responsibility.
However, if there is ever a time in the future when you feel unsure or confused about an assignment, a grade, a manner of assessment, or any other issue regarding the class, I welcome you and encourage you to stop by my office to arrange for a time to visit about your concerns. It is important to me that you feel comfortable to speak to me about such concerns.
Looking forward to a great semester of learning, Dr. Douglas Nimmo
Delineation of Standard-Based Learning—Music 386 & 387. Assessments may include course-embedded (unit and final exams, individual and group projects, discussions and presentations, mock rehearsals, competency checks, papers, etc.)
The teacher understands the central concepts, tools of inquiry, and structures of the discipline(s) he or she teaches (see A below) and can create learning experiences that make these aspects of the subject matter meaningful for students (see B below).
A. Music teachers know how to listen to, read, notate, perform, analyze, compose, improvise, conduct, and evaluate music.
No. Course Placements Assessment 1. All Music Teachers: 1c perform simple keyboard accompaniments and play parts from a musical score. Conducting Keyboard checks from scores
1f demonstrate physical response to music through movement or dance. Conducting live and video conducting exams, also daily/weekly feedback, conducting projects
1g identify and reproduce intervals, scales, and chord structures. Conducting Demonstrated ability to identify and correct harmonic, melodic, rhythmic errors in rehearsals by singing or identifying intervals for students while in the teaching setting.
1h demonstrate a basic knowledge of approaches to general music Conducting Literature selection discussions, programming instruction, materials and literature for students in kindergarten to grade 12 of varying abilities.
2. Music teachers with instrumental specialization:
2b interpret scores designed for instrumental ensembles and understand conducting. Conducting Written and performance exams, analysis of instrumental requirements necessary for interpreting and producing music from scores. Arranging/transposition project for diverse instruments.
2c interpret combined vocal/instrumental scores and understand vocal Conducting Analysis of conducting choral music requirements necessary for interpreting and producing music from scores.
2d have knowledge of instrumental materials and solo and ensemble repertoire, representing diverse periods and cultures, and beginning, intermediate, and advanced levels from kindergarten to grade 12. Conducting Discussion of literature selection with regard to level of difficulty and musical value; resources project
2e demonstrate knowledge and skills or performance pedagogy for percussion, string, and wind instruments. Conducting Classroom discussion and presentations, Teaching in mock rehearsals.
2f rehearse, and conduct small and large instrumental ensembles. Conducting Moch rehearsals in class, video-taped mid-term and final projects.
B. Music teachers can create meaningful learning experiences that lead students to perform, improvise, compose, read, listen to, describe, and evaluate music, as well as understand music in relationship to other arts/disciplines, history and culture.
1. All music teachers demonstrate competence in teaching students to:
1e read and notate music. Conducting Mock rehearsals
1f listen to, analyze, and describe music. Conducting Mock rehearsals 1g evaluate music, music use, and music performance. Conducting Mock rehearsals, literature evaluation (analysis projects)
2. Music teachers with instrumental specialization demonstrate competence in teaching students to:
2a perform a varied repertoire of solo and ensemble music on an orchestral and band instrument. Conducting mock rehearsals
2b improvise melodies and variations on their chosen instrument. Conducting mock rehearsals (problem solving)
2c read music and play from parts or pieces written for their chosen instrument. Conducting mock rehearsals (problem solving)
2d evaluate instrumental music and instrumental musical performance. Conducting mock rehearsals
B. Music teachers can create meaningful learning experiences that lead students to perform, improvise, compose, read, listen to, describe, and evaluate music, as well as understand music in relationship to other arts/disciplines, history and culture.
1. All music teachers demonstrate competence in teaching students to:
1f listen to, analyze, and describe music. Conducting Mock rehearsals (“live” problem solving)
1g evaluate music, music use, and music performance. Conducting Mock rehearsals (“live” problem solving) literature evaluation (analysis projects)
2. Music teachers with instrumental specialization demonstrate competence in teaching students to:
2a perform a varied repertoire of solo and ensemble music on an orchestral and band instrument. Conducting Mock rehearsals (“live” problem solving) 2b improvise melodies and variations on their chosen instrument. Conducting Mock rehearsals (“live” problem solving)
2c read music and play from parts or pieces written for their chosen instrument Conducting Mock rehearsals (“live” problem solving)
2d evaluate instrumental music and instrumental musical performance. Conducting Mock rehearsals (“live” problem solving)
Spring Projects/General Weekly Outline . . .
Major Projects . . .
1. Robert Jager Third Suite - due Week 6-Wednesday Form (analysis - detailed phrases—hand in with tape Key analysis >>>Practice on video tape to help yourself Mock rehearsals, based upon examples from the Labuta text; Mock rehearsal, based upon your own composition or arrangement for the instrumentation of the class. Due week nine in class
3. Planning a concert, based upon CDs on reserve. nn
SPRING BREAK
2. Conducting Jazz: A Matter of Understanding Styles –two days in Week 9
3. Week 10 - 13.5
Your choice of major pieces from a selected list: prepare and conduct in front of class - peer analysis. Presentations will occur during the two weeks preceding the last day of classes (2 per day)
Smaller Projects . . .
1. Prepare and execute Mock Rehearsals - 3-4 each; Some error detection . . .
2. Evaluate one rehearsal and one performance of a non-GAC ensemble (during break?). This may be a visiting group in Björling. Program and narrative conducting analysis required. (No program required for rehearsal; however, a listing of warmup use and pieces rehearsed w/Conducting Analysis Form)
3. Outline a proposed concert for which you are the conductor & musical director: Beginning to end: Consider everything: players' abilities, length of concert, intermission, programming, pacing of style, keys, physical program layout, program cover, theme, seating, tuning procedure, entry and exit, mic for speaking, lighting, ushers, tickets, stage custodial services, guest appearances, financial needs, publicity (local and regional), thankyou notes and other manners of acknowledgement, seating of the ensemble, instrumentation, etc.
4. Score a short piece (several measures) for (your choice of instruments), given the tune (Transposition/arranging-composition/mock rehearsal) (Weeks 10 & 11)
5. Demonstrate effective playing of parts from musical scores.
6. Transposition tests
7. Ear train to MLR, Intervals, and Mock Rehearsals
8. Design a program cover - see Mid-west and HHS, others
9. Teach a session in conducting to a group of HS students (why learn conducting?) MU 387, Programming
The Concert Program The Macro and the Micro of Good Planning
Why are we “blown away” by some concerts and others leave us feeling musically unfulfilled?
What makes the difference between a fine concert program and one that is stellar--it stays in one’s memory for a long time?
What is it about some musical programs that makes them absolutely “life-changing?”
If we can assume fine artistic performance by an individual or ensemble, then perhaps the answers lie in several areas:
I. What literature is performed? II. In what order is it performed? III. What is the length of any fine program? IV. Other issues . . . A. stage entrance/exit--how, when (stage decorum) B. tuning: when, how C. standing after completion of the piece D. microphone E. concert attire F. pacing
I. What literature is performed? For school ensembles, the literature is a major part of the curriculum. What are the students to learn by studying this literature? Why have you chosen these pieces? How might the lives of those who study and those who hear the literature be different after their experience with it?
The first priority for an outstanding concert is that the programmed literature must be good literature (see H.O. #8). Moreover, the music is often broadly diverse in terms of style, date of composition, level of difficulty, etc.
Diversity in programming allows the musicians and the audience to experience a frequent sense of movement over time, a sense of change. The pace of change in life is one criterion that makes life interesting. The choice of literature is profoundly important toward a life-changing experience with music in either the rehearsal or the concert hall.
II. In what order is the literature performed? Many conductors spend too little time thinking about this. While good literature will remain good literature regardless of where it is placed in a program, the order of the literature will likely have a powerful impact on the overall effectiveness of the program.
(I recall an absolutely fine high school band from Texas, which presented a concert at the Midwest International Band and Orchestra Directors Clinic a number of years ago. The concert was laden with long, difficult pieces. Then, the closing piece was an avant-garde alto saxophone solo. This was an example of poor programming. It was too long, too difficult, too much the same; this all added up to a forgettable musical experience.)
One philosophy of programming suggests the following format: Open the concert with a piece that says, “Hello, we are glad to be here. We are delighted that you have chosen to share in this celebration with us. You are about to have a wonderful musical experience!” Such a piece might be a fanfare, “up” march, overture, or some other work with an element of excitement appeal.
While the first piece may be lengthy (some overtures are lengthy), it is often the case that a more brief piece will serve to prepare the audience to hear the second piece, sometimes referred to as the “pull” piece. The second piece ought to be very different from the first. The second piece is often more lengthy, and more “heavy” or “serious” or difficult (if one programs a heavy piece, the “pull” position tends to serve such a piece well). This is also a position that allows for an “out of the audience comfort zone” piece, although other positions in the program can be equally effective for such a piece.
The fourth piece ought to be very different than the third. Perhaps it is slower, or faster, or less difficult, or shorter. It may feature a soloist.
The fifth piece ought to be very different than the fourth. Perhaps it is slower, or faster, or less difficult, or shorter.
The sixth piece ought to be very different than the fifth. Perhaps it is slower, or faster, or less difficult, or shorter. It may feature a soloist.
The seventh piece ought to be very different than the sixth. Perhaps it is slower, or faster, or less difficult, or shorter. It may feature a soloist.
The eighth piece ought to be very different than the seventh. Perhaps it is slower, or faster, or less difficult, or shorter.
The ninth piece ought to be very different than the eighth. Perhaps it is slower, or faster, or less difficult, or shorter.
You get the idea. However, there are a few other considerations. What is the length of the concert? If it includes an intermission, the piece immediately preceding the intermission ought to say, “That is only the first part; I’ll bet you can hardly wait for us to return!” Would such a piece be the Grieg Funeral March?
The first piece after the intermission is in the “golden mean” position--assuming a 90-minute concert. (The Golden Mean is 61.8%, or 56 minutes into the concert--the perfect balance.) It is critical that this piece has terrific audience appeal.
And finally, what is the final piece? (NOT an avant-garde alto saxophone solo . . .) Generally something dramatic, not too lengthy, capable of being performed in a stellar manner when the students might be a bit fatigued mentally, physically or emotionally.
An encore? If you choose to do an encore (do it very infrequently), make it brief. The first order of business when considering an encore is to “leave the audience wishing they could hear one more piece.) An encore does not have to be dramatic, fast, and loud. One of the best encores I know is David Holsinger’s A Childhood Hymn: brief, quiet, gentle, unexpected. Begin the encore before the applause from the previous piece is finished.
That singular element--to do the unexpected--is one of the most effective tools for outstanding programming that I know. And I use it all the time. It cannot be overused.
III. What is the length of a fine program? For younger ensembles, perhaps 30 minutes to one hour is just right (elementary/middle school, some high schools . . .) One must consider the endurance of the musicians, what the community is used to (although that can be changed over time) and what other events are happening at that time (is this the fourth Christmas Concert) for parents this week?
In any event, the average concert audience tends to lose interest after 90-minutes, so one ought to have a very cogent reason for a two-hour concert.
IV. Other issues . . .
Timeliness For a 7:30 p.m. concert, the ensemble ought to enter the stage at 7:29 p.m.. If there is to be an introduction, enter the stage at 7:28 p.m. This means that the ensemble must be waiting in the wings at 7:25 or 7:26. Be detailed about this. Prepare--prepare--prepare!
Stage Entrance/Exit Have the ensemble enter the stage in multiple rows (3-4 at a time if possible). Ask the musicians to walk quickly to their position and turn to greet the audience with a pleasant smile. All tuning has occurred in the rehearsal hall, so the conductor will allow 3-4 seconds after the last person has entered the stage; then she will walk quickly with a smile to mount the podium, turning to greet the audience. The ensemble is seated, the concert begins without delay.
The stage exit is equally important. Show genuine appreciation for the applause (smile!), then exit the stage while the audience is still applauding. The ensemble is (hopefully) off the stage before the last applause is finished.
Addressing the Audience While talking too much is undesirable, not speaking to the audience at all misses a terrific opportunity to communicate with one’s constituency! If possible, always use a microphone. What are reasons for speaking?
A. After the first piece: “Thank you for coming to our celebration of music tonight--we are going to have a terrific time!”
B. The next piece is a bit unusual, so I thought I should tell you a bit about it first.”
C. “It is my pleasure to introduce tonight’s soloist: . . . “
D. “We have had a wonderful time; thank you for allowing us to be a part of your lives tonight. Our last piece will be . . . “
Concert Attire Always, Always, Always dress up for a concert. This is about respect for our art. Concert attire is about respect for our art.
The Gustavus Band: A Typical Concert
>90 minutes (7:30 p.m. - 9:00 p.m.) >8-9 pieces, highly contrasted >10 minute intermission
The Gustavus Wind Orchestra in Concert
Montana Tour 27 January - 5 February 1995
Fanfare for the Great Hall (1993) Jack Stamp b. 1945? 1.5
Tableau (1984) Robert Jager b. 1939 7.0
Funeral March (1866) Edvard Grieg 1843-1907 7.0 in memory of Rikard Nordraak Geoffrey Emerson, arranger
The Irish Washerwoman (1909-1975) Leroy Anderson b. 1953 3.0
Fiesta del Pacifico (1961) Roger Nixon b. 1921 7.0
BSO Forever (1980/1984) Leonard Bernstein 1918-1990 4.00 Clare Grundman, transcriber
30.00 + 10 down time 40.00 + 10 intermission 50.00 Intermission - ten minutes
Bugler's Holiday (1955) Leroy Anderson 1909-1975 3.0 for trumpets
Nearer My God To Thee (1821) Lowell Mason 1792-1872 2.0 Herbert L. Clark, arranger
Ala Samba (1969) Mitchell Peters b.1945 4.0 for percussion
In The Spring At The Time When Kings Go Off To War (1988) David Holsinger b. 1945 20.0
The Gallant Seventh (1922) John Philip Sousa 1854-1932 3.0
2nd half-32 + 10 down time
Total approx--100.00 +/- (1'22")
The Gustavus Band Minnesota Tour
26 January - 4 February 1996
The White Rose (1917) John Philip Sousa 1854-1932 3.5
Sensemaya (1949/1980) Silvestre Revueltas 1899 - 1940 5.75 Frank Bencriscutto, arranger
Prelude in the Dorian Mode (1560/1940) Antonio de Cabezon 1510-1566 (Tiénto del Segundo Tono) Percy Grainger, arranger 5.5
Suite of Old American Dances (1950) Rodney Russell Bennett 1894-1980 I. Cake Walk II. Schottische III. Western One Step IV. Wallflower Waltz V. Rag 15.5 _______ 30.0 + 10.0 intermission 40.0 Intermission - ten minutes
Symphony No. 2 (1930/1976) Howard Hanson 1896-1981 “Romantic” W. Francis McBeth, arranger III. Allegro Con Brio 7.25
Chorale Prelude on “Sleepers Awake!” (1995) Thomas Root b. 1947 I. Maestoso, con brio II. Allegro moderato III. Allegro spiritoso IV. Pensivo V. Allegro molto, maestoso 9.0
Galop (1938/1984) Dmitri Kabalevsky b. 1904 from The Comedians Daniel Mitchell, arranger for percussion 2.0
The Planets (1915) Gustav Holst 1874-1934 IV. Jupiter--The Bringer of Jollity 8.25
26.5 (2nd half) + 10.0 down time 76.5 minutes total Gustavus Band Lake Michigan Tour--1997
FANFARE FOR A NEW ERA (1995) Jack Stamp b. 1950 >>>2.5
THE PLANETS (1914/1924) Gustav Holst 1874-1934 Mars--The Bringer of War >>>6.0
SCHERZO FOR A BITTER MOON (1985) Gregory Youtz b. 1956 >>>9.0
THE FREELANCE MARCH (1906/1981) John Philip Sousa 1856-1932 William Revelli, editor >>>4.5
ZION (1994) Dan Welcher b. 1954 To the memory of Aaron Copland >>>9.0 THE ASCENSION (1994) Robert W. Smith b. 1946 from the “Divine Comedy” >>>6.0
LAUDE (1976) Howard Hanson 1896-1981 Chorale, Variations and Metamorphoses >>>13.0
AMAZING GRACE (1820/1982) John Newton 1725-1827 The Gustavus Band Flute Section Ann Sponberg Peterson, arranger >>>3.0
ASPEN JUBILEE (1988) Ron Nelson b. 1929 >>>11.0
------------------ >>>64.0
A CHILDHOOD HYMN (1995) David Holsinger b. 1945 >>>3.0
A Wish For Leaders I sincerely wish you will have the experience of thinking up a new idea, planning it, organizing it, and following it to completion, and then to have it be magnificently successful. I also hope you will go through the same process and have your wonderful idea bomb out.
I wish you could know how it feels to run with all your heart and lose horribly!
I wish that you could achieve some great good for humankind, but have nobody know about it except you, or to have someone else take the credit.
I wish you could find something so worthwhile that you deem it worthy of investing your life in it.
I hope you become frustrated and challenged enough to begin to push back the barriers of your own personal limitations--to really become involved in thoughtful risk-taking.
I hope you make a really stupid mistake and get caught and are big enough to say, "I was wrong. I am sorry."
I hope you give so much of yourself that some days you wonder it is all worth the effort.
I wish for you a magnificent obsession that will give you reason for living and purpose and direction and life . . . .
I wish for you the worst kind of criticism for everything you do, because that makes you fight to achieve beyond what you normally would.
I wish for you the expereience of leadership.
--Earl Reum (and others) HO #14 Academic Integrity By enrolling in classes at Gustavus, you have taken up membership in a worldwide community of scholars, and like any community, Academia has ethical standards to which you are expected to adhere. You are expected to learn and follow the principles of honesty and integrity that apply in academic life. Among those standards are that you faithfully represent your own work, acknowledge any borrowing from the work of others, avoid falsifying data or sources, be respectful of other scholars' efforts and not interfere with their access to resources (e.g. by misappropriating or damaging library materials), do a fair share of the work in group efforts, give others the benefit of your informed opinions and observations in discussion, and be respectful of others' values, knowledge, and feelings while developing your own. We define ourselves as a community by our common pursuit of knowledge and wisdom, not just as individuals, but also as colleagues. Integrity includes not just the principles we revere, but also what we do with them. Whether in research, in discussion, or in writing, certain kinds of trust, respect, and courtesy are called for in dealing with your peers and mentors, and in maintaining your self-respect.
Regrettably, serious and deliberate violations of ethics may incur serious penalties, including expulsion. Lesser violations may carry lesser penalties, but cannot be overlooked. If you are in doubt about whether your work conforms to ethical standards, please inquire--you are, after all, a learner. HO # 15 MUS 386Interval Aids: Melodies to Assist Indentification of Melodic Leaps
Interval Ascending Melody Descending Melody
minor 2nd Jaws Für Elise mi-fa New World Symphony (Finale) Jurassic Park ti-do Raindrops Keep Falling on Pagliacci My Head Alexander’s Ragtime Band
Major 2nd Climb Every Mountain Three Blind Mice do-re Rudolph, the Red-nosed The Way We Were re-mi Reindeer fa-sol Are You Sleeping? sol-la la-ti
minor 3rd Brahms’ Lullaby This Old Man re-fa Somewhere Out There Star Spangled Banner mi-sol Georgia America the Beautiful la-do Frosty the Snowman ti-re Children’s Chant
Major 3rd Kum Ba Yah Ben Ben Chimes do-mi When the Saints Go Swing Low, Sweet Chariot fa-la Marching In Good Night Ladies sol-ti Blue Danube Waltz Summertime--Porgy-Bess Surprise Symphony (Haydn) Imperial March--Star Wars
Perfect 4th Here Comes the Bride I’ve Been Working on do-fa Auld Lang Syne the railroad re-sol Amazing Grace O, Come All Ye Faithful mi-la O, Christmas Tree A Mighty Fortress sol-do Taps Eine Klieine Nachtmusik Tonight—West Side Story
Tritone Cool—West Side Story Don’t Stop ‘Til You GetEnough fa-ti Maria—West Side Story The Simpsons
Perfect 5th Twinkle, Twinkle Little Star Feelings do-sol Theme from “E.T.” What Shall We Do With the Wizard of Oz Guards (Oh-EE-Oh) Drunken Sailormi-ti Star Wars Main Title Theme Superman (the Movie)
Minor 6th The Entertainer (pitches 3 & 4) Love Story Theme mi-do Go Down Moses la-fa To Life—Fiddler on the Roof ti-sol
Major 6th My bonnie Lies Over the Ocean Over There
do-la It Came Upon a Midnight Clear Nobody Knows the Trouble I’ve Seen fa-re NBC Theme Six Little Ducks That I Once Knew sol-mi Take the “A” Train
Minor 7th Somewhere—West Side Story Something Wonderful re-do Original Star Trek Theme --The King and I mi-re Have You Driven a Ford—Lately?
Major 7th Bali Hai—South Pacific Hut of the Baba Yaga do-ti (pitches 1 & 3) -Pictures at an Exhibition fa-mi Te On Me (Aha)
Perfect Octave Singing in the Rain do-do Somewhere Over the Rainbow re-re The Chirstmas Song—Chestnuts Roasting . . . The Goat Song—Sound of Music
FOREIGN NAMES OF INSTRUMENTS
English French Italian German
piccolo petite flute flauto piccolo kleine Flote ottavino flute flute flauto Flote (grosse Flote) hautbois oboe Oboe (Hoboe) English Horn Cor Anglais Corno Inglese Englisch Horn clarinet clarinette clarinetto Klarinette bass clarinet clarinette basse clarinetto basso Bassklarinette bassoon basson fagotto Fagott horn cor corno Horn trumpet trompette tromba Trompete cornet cornet cornetto Kornett trombone trombone trombone Posaune tuba tuba basse tuba di basso Basstuba timpani timbales Timpani Pauken (kettle drums) xylophone sylophone silofono Sylophon marimba marimba marimba Marimba glockenspiel jeu de timbres (carillon) campanelli Glockenspiel vibraphone vibraphone vibrafono Vibraphon bells or chimes cloches campane Glocken snare drum tambour (caisse claire) tamburo kleine Trommel field drum tambour tamburo Ruhrtrommel bass drum grosse caisse (gran) cassa grosse Trommel cymbals cymbales piatti Becken suspended cymbal cymbale suspendue piatto sospeso hangendes Becken triangle triangle triangolo Triangel tambourine tambour (de Basque) tamburino Schellentrommel (Tambourin) gong or tam-tam tam-tam tam-tam Tam-tam (misleading) castanets castagnettes castagnette Kastagnetten rattle or ratchet crecelle raganella Ratsche wood block bloc de bois cassa di legno Halzkaste cowbells grelots campanelli de vacca Heerdenglocken sleighbells grelots sonagli Schellen Slapstick or whip fouret frusta Peitsche celesta celesta celesta Celesta harp harpe arpa Harfe violin violon violino Violine viola alto viola Bratsche violoncello violoncelle violoncello Violoncell double bass contre basse contrabasso Kontrabass Thoughts for the Teacher/Conductor MU 386/387
1. What motivates my actions? 2. How does my attitude affect those with whom I work? 3. Am I willing to risk failure to grow? 4. What beliefs underscore my attitude as a musician? 5. Joy defies circumstance.
6. Conductor attributes: a. citizenship b. character c. integrity
7. As conductors, we need more wonderful feeling; it is in our minds; we need to get it into our hearts and hands. 8. As conductors, we must display empathy for our students. 9. We are responsible to teach them how to listen 10. If we avoid overprogramming, we probably avoid survival mode. 11. Can the president of the wind orchestra/orchestra handle some issues of pre-concert activity? 12. Assessment is the key to validity. However, if one focuses only on assessment which can be accomplished on paper, we ignore the most important outcomes of music study. The perceived purpose ought to be for students to be able to make artistic decisions (thereby experiencing artistic growth and insight) and to develop values based upon those informed artistic decisions (via curricular study) independently of the teacher/conductor.
Again. The perceived purpose of music education ought to be for students to be able to make artistic decisions and to develop values based upon those informed artistic decisions independently of the teacher/conductor. That is, the musicians become musically educated.
13. The way we move our hands, arms, body influences the way the students move their breath!
14. The way we use the ictus table influences attack (onset, entering sound) and release (entering silence, listening to the room.)
15. Each band is capable of an independent pulse; we don't always have to keep time; allow students to keep time internally.
16. We can't create music, we can only monitor and shape it.
17. Music is always a stimulus/response; I hear something and immediately I must offer a response.
18. Be less physical--you will hear better.
19. How do accents differ between Nehybel and Brahms? I must FEEL the difference.
20. People want to know more about how you feel about the music before they care about what you know about the music.
21. All hinges (shoulder to fingers) must be kept relaxed.
22. Stand erect; the room is filled with water, we must be kept buoyant.
23. If you desire less sound, place palm toward the ensemble and pull back; if you push, they will likely play bigger sounds.
24. Conductors must be enablers to help them move the air.
25. Most bad music is based upon bad attack and bad release.
26. Speed of gesture controls the breathing, not the size of gesture.
27. There is no relationship between the speed of gesture and the tempo.
28. We live in a society that does not seem to place profound value on musical art. We need to help children to learn to appreciate great art. How can you help? How can I help?
29. How can it be that we have 100’s & 1000’s of students having been in bands, and yet do not value art? How do people develop a love for music?
30. Students choose to be active, but not active listeners. How can I help?
31. As conductors, we define the curriculum by the literature we choose.
32. Only the best is good enough for children. They are led to masterpieces by playing masterpieces. - Kodaly
33. The creative act involves TIME.
34. As a conductor, I must reflect someone who is in love with music. They may see me as a person who organizes activities; after all that, do I have any music left? Yes, but only if my eyes and ears stay on the goal of music.
35. We are dealing with developing values.
36. How do we learn to discriminate in artistic value? You wouldn’t eat spoiled bananas or rotten meat or drink pop without suds.
37. If I want my students to love music, I must begin with positive, nurturing and successful experiences with the subject matter.
38. Some percussionists don’t like playing all that much; they just like the lifestyle.
39. Be sure you ask someone to play alone everyday. Show them you care; you are interested.
40. Practicing on your own is a privilege; you have been deemed a responsible individual. What an honor!
41. To be comprehensive, what ought we include in our rehearsals? Comprehensive study is performance with understanding. (They must learn more than all the fingerings for the pieces they played!)
a. Performance Skills (we must be good performers) b. Theory/Form & Analysis c. History/Sociological Issues d. Biographical Info on the composer e. Compositional Techniques f. Orchestration
42. How about Activities, e.g., DOING STUFF? a. Listening b. Performing c. Arranging/Composing d. Analysis e. Sequencing, Editing f. Researching g. Discovery
43. Remember, Fun does not equal frivolous. Fun equals fulfilled learning. Working hard toward accomplishment is really fun. (70% of the population does not read even one book per year for fun.)
44. We need to teach our students to make good educational changes. IOW, what is intellectually interesting and functionally valuable? How can you think with this information?
45. We want music to be the reward: not the medal, or the cookie, or the grade or the GPA or the trip to Europe. If those trophies are the reward for being in music, what will your life be like when they are gone? The perk must be making music. What is inherently great about making music? If there is no medal or GPA, will you stop playing? Or, is there a chance you might start a quintet or seek out a community band or a community orchestra or . . .?
Process: What if there is no cookie here? What happens if we get to “the end” and there is not a big golden trophy? Will the PROCESS of making music be enough for us? For me?
The payoff for learning stuff about music is learning more stuff about music.
THIS HAS LESS TO DO WITH THE BEHAVIOR ITSELF THAT WITH THE WAY THE BEHAVIOR IS DEFINED.
So when the luck (the goal) came along, I was prepared for it.
IOW, for Gustavus in spring 1995, we didn’t rehearse hard and practice hard to do the performances of Holsinger. We did all that so that we could do all that. IOW, we were process oriented. The product (goal/performances) was a natural result, but not the be all and end all.
Five Kirchhoff Concepts
I. Move the baton (arms) through the air the way you want them to blow the air through their instruments.
II. Every ensemble is capable of its own internal pulse.
III. Good conducting is always a stimulus/response situation.
IV. As conductors, we must feel the texture of the music. Think of music as texture.
V. The musicians create the sound. The conductor monitors the sound. The musicians unlock the sound. The conductor unlocks the magic.
47. Bud Beyer
Projection: A tool that is there when needed. > Usually, we only project in life when we feel good. > This can be natural when you need it. > Can we teach projection to students?
Remember that humility is important to the artist.
How do we project? a. Project energy from below the belly button out the arm. b. Chest is not out, but lifted. Remember, the torso does not lie, the lifted chest is (in mime) the “smile.” c. Try going into an administrator’s office and fill the space. IOW, fill the room; this is connected to breath. d. Resistance: every movement leaves a shape. You leave shapes in space. (What sort of shapes do you want to leave?) e. Have of our problem is the way we image ourselves. We must be who we are. f. As players, friends, colleagues, WHAT WE WANT IS WHAT YOU HAVE. IOW, WE WANT ALL OF YOU BECAUSE YOU ENRICH OUR LIVES. g. You are the sum total of everything you have done or thought. h. Look at people as beautiful sculptures. When they move or stand, they leave shapes in space. i. When I conduct, what shapes do I leave in space? Particularly, movements with resistance leave shape. Resistance is the key, moving in air that is heavier. j. Lift the center of the chest, initiate all movement with the torso. k. It is worthy for us to be left in space. It is OK to leave my shape in space. (Is this too far out?’ Shapes in space: resistance, own it, try it now. l. Tilt of head, lift of chin, impulse of will is more useful and powerful than eyebrows, etc. (This can be demonstrated by use of the “mask”--a sheer black cloth long and narrow placed over the face. It is employed by mimes to develop the impulse of head movement.
48. Reynolds
What is success? What does that mean to me?
What are my one, five, and ten year professional goals?
Constant renewal is essential
Learn to delegate. It means that someone may not do it just the way you would like, but their way may be better . . .
The best rehearsers have an aural image of the music before they begin to rehearse. It is not fixing, but creating that counts. Not remodeling, but building new.
[A laser disk machine is worthy of your professional investment!]
Most great communicative conducting comes outside the beat pattern.
Your conduct with your hands: Your arms move only because they are connected to your hands.
The hands conduct!
Those people who are only musicians are half musicians. (Bruno Walter)
Your cannot keep up with your own expectation, but you can still be on fire. Reading, recreation, family.
Success is making a difference.
Think less, listen and sense more during rehearsals and concerts.
Sing the canon scale.
Clapping: 1/3 band on 8th notes 1/3 band on qtr notes 1/3 band on half notes Then add accents.
50% of rehearsal time is getting the music the way you want it. 50% of rehearsal time is helping to make the spirit of the group better.
Always have a plan for the rehearsal: Always finish with an UP for the band.
Plan the END of the rehearsal first: It is the most important part!
Instruct the students how to warm up for rehearsal: Long Tones, Lip Slurs, Tonguing, Tuning, et al.
While singing the tuning note, have the principal players play the note at a mezzo piano. Than add 2nd chairs, etc.
Be a stickler. Know what you want.
If they are not watching, stop. conduct while having them count in the style and dynamic. This concept can be employed in warmups, too. If they are not watching, remove the distraction. IOW, remove the difficult music.
When stopping, stop in clumps, then do more synthesis.
When starting a piece. If they appear lethargic, say “No. The attitude is not right. Stand up. Sit. Stand. Sit. Now, your energy is up. Let’s begin again.”
When they don’t stop as you stop: “Stop sooner, please.” When they do what you ask, “Thank you for stopping quickly!” Or, “Trombones, thank you for stopping quickly.”
“Hopefully, this is the last time, but it may not be. . . “
“Leave no note unstirred.”
Avoid random accumulated sound.
“Give us a cue.” A “when” cue is a gift. How many of you drive cars? How many of you manage a check book? If you can do those challenging activities, I know you can count your rests. Now, come out on the limb with me! Live your musical life dangerously!
Can we do a “lock in” with college students and 7th grade band students?
MU 386, Good Music/Reimer
GOOD MUSIC: WHAT IS IT? 1. We must always endeavor to use good music in our teaching, e.g., always genuinely expressive music.
2. The experience of a work of art as a unified entity must be first and last. In other words, opportunities must constantly be provided for the expressive power of music to be felt.
3. Most important role of Music Education is to help students become progressively more sensitive to the elements of music which contain the conditions which can yield experiences of feeling.
4. The language used by teachers must be appropriate--the intent is to illuminate expressive content in music. Appropriate language must always be descriptive--never interpretive.
According to Bennett Reimer[i] (music philosopher and aesthetician), there are just four criteria for assessing the quality of any artwork and (in the case of music) its performance. These four are craftsmanship, sensitivity, imagination and authenticity.
Craftsmanship is the expertness by which the materials of art are molded into expressiveness. All such materials resist so artists are required to understand and mold the resisting materials in ways that allow for appropriate resolution of the resistances. In other words, if craftsmanship is to be realized, one must be skilled in both knowing profoundly about the material and acting with mastery upon it.
The absence of craftsmanship is characterized by shoddiness, by disrespect for material, by forcing material to do something rather than doing what it requires, by skill that is devoid of heart--skill that manipulates the material rather than serving its expressiveness.
Professional expertise means having enough craftsmanship to be able to tell the difference.
The second criterion for judging art, sensitivity, has to do with the depth and quality of feeling captured in the dynamic form of a work. As artists shape their materials into form, they are giving shape to their feelings. Acting upon materials takes place in the form of making decisions--decisions that come from a developed set of feelings over time. That is why making art or performing art is an issue of “spinning out” the artwork or the musical line, etc.
Professional expertise means being sensitive to the difference.
It’s far more important to remember how you felt about a piece of music than to remember how it sounded. The students want to know how we (teachers) feel about a piece of music. [You may or may not feel the same way about a piece as I do; we are all equal, but different.] I am not going to let go of this now!
Art reaches beneath the surface. Some fine pieces don’t necessarily probe too deeply, but they are still fine works of art. However, even successful “light” pieces require out of the ordinary experiences to be successful. No matter how small or how limited, the work must have something “right” about it for it to capture us--to capture our imagination. Imagination in a work of art is what in turn captures our feelings.
“At every moment in the creative act, whether it consists of composing a piece of music or painting a landscape or writing a poem, craftsmanship and sensitivity combine to guide decisions that are also, to some extent, imaginative--that do not follow through in a straight, undeviating line of expectation but reach for the original solution, the unexpected event, the novel twist and turn, the unfolding of events that pull us, as we follow them to feel more deeply because we cannot entirely predict the outcome.
On the other hand, when imagination is absent or is insufficient, a work of art betrays us.” (Reimer, 139.)
Professional expertise means being alive to the difference.
Morality in art. In other words, the genuineness of the artist’s interaction with his materials, in which the control by the artist includes a giving way to the demands of the material. Among other issues, morality in art is about honesty in art. An honest work takes us wherever it goes--to the unpleasant as well as the pleasant. No matter--it will, by virtue of its fidelity to its inner needs, ennoble our humanity. On the other hand, a dishonest work forces us to forgone conclusions. We are honored by the genuine, no matter how difficult to take.
Art never preaches: art requires us to experience. The joy expressed by artists who say about their work that they “serve their art” is precisely the joy of disciplined, intrinsically moral experience. Music educators do not provide discipline or teach morality. Music does. (Reimer, 139.)
Professional expertise requires that we respect the difference.
A few other thoughts:
Just because music is popular does not make it unsuitable for music education. The question must be asked: Is enough musical quality available here to help musical perception and reaction grow?
Music--and all art--is the most powerful way to explore and experience the specificity of how life is felt by each group sharing a communal subjective identity. The social lesson our children must learn through their music education is that all human beings share the basic condition of subjective awareness and that each culture experiences this awareness with a special character. Human beings are both universally alike and culturally different; that is the human paradox embodied most strikingly in art.
Reimer, Bennett. A Philosophy of Music Education, Prentice-Hall, 1989.
MICS CONDUCTING: CRAIG KIRCHHOFF
we are all equal, but different - Miles Johnson
Mel George: "Nothing give me greater pleasure than to have this man [Miles Johnson] as a member of my faculty."
Kirchhoff--Sunday Night: MICS is a real celebration of our profession. I will offer three items:
1. An Essential Hypothesis 2. An Essential Question 3. An Essential Belief
Essential Hypothesis: Learning is for the future
Essential Question: What is it that we want our students to have when they leave our program? In all of this discussion, aesthetic education is the answer. [The major function of art is to make objective and therefore accessible the subjective realm of human responsiveness.] [Remember the four points of Reimer-- 1. We must always endeavor to use good music in our teaching, e.g., always genuinely expressive music. 2. The experience of a work of art as a unified thing must be first and last. In other words, opportunities must constantly be provided for the expressive power of music to be felt. 3. Most important role of Mu Ed is to help students become progressively more sensitive to the elements of music which contain the conditions which can yield experiences of feeling. 4. The language used by teachers must be appropriate--the intent is to illuminate expressive content in music. Appropriate language is always descriptive--never interpretive.]
Essential Belief: Teaching is a noble profession. Is what I am doing really important? When I think back, I was groping. [Was I really doing important stuff for my students?]
[Be sure to read an aesthetics statement for the band students on day one. What is our perceived purpose? What is this really all about?]
I want to applaud you toward taking risks.
It’s far more important to remember how you felt about a piece of music than to remember how it sounded. The students want to know how we feel about a piece of music. [You may or may not feel the same way about a piece as I do; we are all equal, but different.] I am not going to let go of this now!
[It is not a coincidence that we are here together.]
Buy it - CONDUCTORS, by Helen Methiapolis: Call Karen Zins to order it.
As conductors, we need to see ourselves and create NON-JUDGMENTAL AWARENESS.
Tempo is often the greatest problem. The tempo must be right!
Most great communicative conducting comes outside the beat pattern.
Your conduct with your hands: Your arms move only because they are connected to your hands.
More Kirhchoff Concepts
I. Move the baton (arms) through the air the way you want them to blow the air through their instruments.
II. Every ensemble is capable of its own internal pulse.
III. Good conducting is always a stimulus/response situation.
IV. As conductors, we must feel the texture of the music. Think of music as texture.
V. The musicians create the sound. The conductor monitors the sound. The musicians unlock the sound. The conductor unlocks the magic.
Kirchoff Commentary
Don't muscle the music!
Stay out of the way.
Allow the band to play without me 3 or 4 times at each rehearsal.
Remember the Persichetti Symphony, Mvt. II
Where is my most favorite moment in this piece? (The band wants to know.) Something has to happen.
I can hardly wait . . .(to hear the bassoons at measure 16--smile at them with great anticipation!)
Conduct with your mouth slightly open, eyebrows up for growth. How many ways can you make the band crescendo without your arms?
OK, that didn't work, or that isn't what I was hoping for. Can we try that again? [The point here is that it is OK to try again without any further instructions--maybe this is not as much for beginners?]
Do the Ives - Variations on America for Spring
WINDS OF NIGUAL Michael Colgrass
The Lourve - How about Suite Francais - Milhaud
Do Gandalf for January.
Do 1st Suite Holst in Fall. Be more reflective in Mvt.I in the inversion--RUBATO. Don't dampen the bass drum. It needs to be almost more felt than heard. The end of Mvt. I is spooky, just before it begins to take off. A bit more pedal at letter E. Fl and clr fit more into the sound of the horn. The energy goes all the way to the last measure. Reverse the sax and horn seating.
You need to get your face involved in the music.
Don't use more space--just push more air around. (resistance)
Think about hinges on your conducting apparatus.
Does it facilitate the music? If not, don't do it.
It its not together, stop. "Let's try that again."
Do you have to be a traffic cop? Don't cue just to get people to come in. All cues are not necessary.
I am going to will it to happen.
When teaching conducting, stand back to back to make them stand up.
Light staccato - fingers/wrist only.
Leggerio conducting - lighter grip, knuckles in a line.
BE ALOT MORE DEMANDING. NO! YOU GUYS PLAY BETTER THAN THAT! TRY AGAIN.
I am going to admonish you. Play what is being conducted.
In a legato passage, don't give away "hard hits."
Brahms is supple.
The swell in this chord is small. It's like watching a baby in a crib breathe.
Remember, the music continues after the release.
Can I be more facially expressive?
High rebounds are enemies of musical progress.
Instead, effectively distribute the beat in a horizontal plane. Use small downs, many of horizontal figure 8's.
Omit these words: Big and small.
Instead the beats are slower or faster. Bigger beats are faster.
The speed of the gesture has great implications for expression. The speed of the gesture is the root of all gestures.
LEGATO THOUGHTS . . .
connected lead with the wrists drag the tip Round
Remember, music always has an arch; there are no flat rainbows. Again, use the figure 8 or infinity pattern
Put a quarter on the back of your hand and conduct the lateral figure 8 on a black board. Keep the tip the same distance from the board.
Let your knuckles be in-line (relaxed) hand
Let's sizzle to make it happen. [say the rhythms using tch tch tch in time. This will get the band to think together in time and determine that internal pulse.]
Pro-intensity is anti-tension.
I must go up and return to the same point for the attack [onset?]
Conductors work from informed intuition. (a combination of intellect and gut feeling)
Percussion have to think like they are part of the music, particularly the chord. Percussion, play like the 3rd of that chord.
Instead of saying "too loud," say "would you fit inside that trumpet (clar, flute) sound?" Play into the flute section. [Have the clarinets play a low E as soft as possible to demonstrate how soft it should be.]
The energy goes all the way to the last measure. Reverse the sax and horn seating.
Patience is a great (terrific, wonderful) virtue.
On a suspension, don't cheat the resolution, or there is no resolution.
We're all tired - you're doing very well.
Percussion must breathe before they play cymbals--it's good for life.
Set up the VCR every day in my rehearsals. Audio tape every day also.
The band members must not be afraid to play.
Less is best. Then when you have something to say, it will be noticed.
When giving the attack, keep the stick at the same angle to the wall: do not allow it to arc. It is clearer this way. Keep the tip the same distance from the blackboard.
Many times I look at the blackboard because it's like my blankee. We don't really need it.
Do we have mutual respect and love as conductors/players? No direct hits. Brass, there is a problem. Again, please. Trombones. 2nd trombones?
Criticism ought not be personalized (if possible) Instead, look at them to the side without turning the body.
Simple gifts are the best - less is best.
When they do it right, say "Merry Christmas."
How do we enter silence? (the release - make sure the sound continues, it is alive, don't extinguish its life!)
The best rehearsals are Synthesis Analysis Synthesis or . . . Macro Micro Macro
If I don't expect them to come to my level, I will go to theirs.
Maybe I ought to program pieces that we can read fairly well the first time. Maybe I ought to UNDERPROGRAM. Then, we can play the music--all of it!
Get away from that "fix it" approach. Is there no a personal growth value in wood shedding?
Sectional leaders. Keep a journal . Write notes in rehearsal and work on them. Buy the journals.
Give the students a musical reason why you want them to do something.
Spend time with chords. One minute daily. Write exercises for this. Use circle of 4ths in 3rds, 4ths, 5ths.
Most important - Teach them HOW TO LISTEN
Tell them what to listen for.
Band in the round - what a great listening device! Be sure to keep your stand partner. Or sit anywhere you want in the same seating format.
For locking in chords, play a favorite note in the low register, pp, resolve to a Bb chord--hear it lock in. Do this with rhythms also.
Try putting the saxes to the right, horns to the middle; IOW, they change places.
Rotate trumpets often, same with flutes, saxes, horns, clars, trbs (Percussion always do this!)
What happens if I put up the shell for the horns?--or some kind of hard surface?
Close your eyes; listen to the room. (silence) I will call chords. You start and end together. (Bb, G, Ab, Db, Eb, . . . )
Three notes in a row always rush; I know its written on a tablet on a mountain somewhere--probably Mt. Sinai.
Cymbal and Bass Drum player: Will you play that like the 3rd of the chord?
If it's too loud, have the clars play a low E as soft as possible, ask flutes or trts to play their passage that soft.
Conducting: Generate sonic energy by going out and down (back hand/back arm)
Practice conducting with a metronome. Use the tip of the stick, beginning at 1/4", 1/2", 1, 3, 6, 9, 12, 15, 18, 21, 24, then back.
I need to be reinforcing with my eyes, to be encouraging, to be an encouraging listener.
Use your face constantly--How do you feel about what you hear?
When the music is very rhythmic, don't move, be the Rock of Gibralter.
Get the ship launched, then do whatever you want.
Competition destroys love.
In staccato, make sure you can hear all the voices. (sustain one chord at a time, ppp, then move to staccato chords.)
When you find yourself in a hole, stop digging.
DOWN A COUNTRY LANE, Copland (4 before D is a Gb, in Low WW and Low Brass)
For a large expressivo interval, the conductor should draw the hands up and out toward the band.
My best conducting is not when I am beating time.
Watch the journals; collect articles for defending the nature and value of music. Cut them out, collect, read.
See the SCORE CHECK LIST--I have the HO for MU 86
WE must teach our students to READ music. Sight reading--Do it at 5:12 daily.
Band Director: BY JOHN PAYNTER Teacher Leader Artist Model A friend, but not too much Listener Servant of the community HOW DOES THE GUSTAVUS BAND SERVE SAINT PETER?
Set up an anticipation/expectation for an outstanding, life-changing rehearsal.
Can I do the conducting class with conducting students? I work w/my students as they work w/the band 10 minutes each w/critique--like Craig Kirchoff did. Two days in one week. Don't let them rehearse.
Rehearsal Planning & Execution MU 386/387
The topic at hand seems to be a skill--perhaps nearly an art form which is handled in many ways. The following represents ideas that you may find helpful as you prepare to rehearse. (Score study, et al. is inherently part of this.)
Success does not "just happen." Change is inevitable, growth is an option.
Before rehearsing any piece, be sure to study the score in an appropriate manner. See your HO SCORPREP for detailed information on the topic. Score study is absolutely critical, but does not guarantee success in the rehearsal. It will, however, bring the conductor much closer to his/her goals for musical understanding. It is also a positive force of your personality as a conductor and musician. Being prepared always feels better than being unprepared, and generally will lend increased respect to any podium artist.
When you have a conception of the piece in mind, you are ready to rehearse in front of the mirror. Then, and only then, put the piece into rehearsal with the ensemble. Best wishes for a rewarding and memorable musical experience!
I. Some essential questions for rehearsal preparation--not prioritized a. What kind of rehearsal is this? (sectional, full rehearsal, small ensemble, etc.) b. What are my musical goals for this rehearsal? (micro vs. macro, technical detail, phrasing detail, attack/release, tuning a particular section, tempo integrity, rhythmic integrity, increasing musical awareness among musicians regarding what is happening in sections other than their own, note and rhythmic drill, etc. c. How much can I expect to accomplish in the time I have? How many pieces should I be dealing with today? Is this too much to expect--too little? d. Where are we in the process? Is there a concert next week? Did I overprogram? e. What is my philosophy regarding concerts? Are they to be an end in themselves? Or are they a natural result of quality learning and teaching?
II. Some essential points of departure.
a. Remember to note among all musicians . . . 1. Posture 2. Hand position 3. Attentiveness 4. Mental focus or "impulse of will" 5. Breathing 6. When I begin to "lose" them. (How much is just right? When do I say "I know this is tough; please be steadfast--let's stay the course and get this right today."
b. My attitude will profoundly affect the way the students learn today. I must never blow off the prep for this. If the students know I care about every note, every attack and release, every musical detail, every "big picture," then they are more likely to care about every note, et al. in like manner.
c. My attitude about the people in the class will be known as I walk into the room. How do I feel about doing this? How do I talk to the students? Do I respect each of them? Do I believe that each of them deserves respect? Why? What is my role in all of this?
IV. When does the rehearsal begin? a. Individual Warmup--what do I expect the students to do? Have I told them? b. Ensemble Warmup--what are the options? Breadth vs. Depth c. Other instruction/learning: scales, method books, tuning, aural cognition d. Order of pieces
V. Pacing a. When should the profound moments take place? (Remember the Golden Mean) b. How do I know when I should move on? Is it OK to change the plan in the middle? c. How much consistency in daily routine is important? d. The Hawthorne Effect, or changing for the sake of change--some, many?
VI. Closure a. Significant b. Sense of accomplishment c. On time as possible d. Thanks, or compliment, or some relative and edifying comment.
VII. Other a. Blackboard b. Audio/Video c. Seating d. Pencils e. Announcements f. ?
VIII. Ideas . . .
125. 48. Reynolds
What is success? What does that mean to me?
What are my one, five, and ten year professional goals?
Constant renewal is essential
Learn to delegate. (Share the power) It means that someone may not do it just the way you would like, but their way may be better . . .
The best rehearsers have an aural image of the music before they begin to rehearse. It is not fixing, but creating that counts. Not remodeling, but building new.
[A laser disk machine is worthy of your professional investment!]
Most great communicative conducting comes outside the beat pattern.
Your conduct with your hands: Your arms move only because they are connected to your hands.
The hands conduct!
Those people who are only musicians are half musicians. (Bruno Walter)
Your cannot keep up with your own expectation, but you can still be on fire. Reading, recreation, family.
Success is making a difference.
Think less, listen and sense more during rehearsals and concerts.
Sing the canon scale.
50% of rehearsal time is getting the music the way you want it. 50% of rehearsal time is helping to make the spirit of the group better.
Always have a plan for the rehearsal: Always finish with an UP for the band.
Plan the END of the rehearsal first: It is the most important part!
Instruct the students how to warm up for rehearsal: Long Tones, Lip Slurs, Tonguing, Tuning, et al.
Ideas: Clapping: 1/3 band on 8th notes 1/3 band on qtr notes 1/3 band on half notes Then add accents.
While singing the tuning note, have the principal players play the note at a mezzo piano. Than add 2nd chairs, etc.
Be a stickler. Know what you want.
If they are not watching, stop. conduct while having them count in the style and dynamic. This concept can be employed in warmups, too. If they are not watching, remove the distraction. IOW, remove the difficult music.
When stopping, stop in clumps, then do more synthesis.
When starting a piece. If they appear lethargic, say “No. The attitude is not right. Stand up. Sit. Stand. Sit. Now, your energy is up. Let’s begin again.”
When they don’t stop as you stop: “Stop sooner, please.” When they do what you ask, “Thank you for stopping quickly!” Or, “Trombones, thank you for stopping quickly.”
“Hopefully, this is the last time, but it may not be. . . “
“Leave no note unstirred.”
Avoid random accumulated sound.
“Give us a cue.” A “when” cue is a gift. How many of you drive cars? How many of you manage a check book? If you can do those challenging activities, I know you can count your rests. Now, come out on the limb with me! Live your musical life dangerously!
rev. 8/10/95
Inquisitive Learning The Teacher/Conductor/Wonderer Douglas Nimmo
The rehearsal--where a conductor's "business" is transacted, where music is created and recreated, where imagination and artistic maturity intersect. The rehearsal is the residence of learning.
That being the case, why do many conductors view their single most important purpose as that of solving problems, i.e., error detection? Why do some conductors tend to focus only on what is wrong with the music? Error detection will never be eliminated from our rehearsals--it is a natural element of musical study. However, error detection must not be the primary focus of rehearsals, for such an approach is sure to significantly limit the musical growth and insight for both student and teacher.
To bring young musicians to a fulfilling involvement with musical experience, we must broaden our view of the musical possibilities in rehearsals. In other words, conductors must address the issue of "rightness detection"--being acutely aware of performance that may be acceptable or very good, but not outstanding in its degree of rightness or excellence. That requires constant fine-tuning of listening skills to ensure that the musicians approach their study of music in a nurturing manner--a manner that treats music as something alive and growing--a manner that asks the question, "what else is in this piece?" As a result, every rehearsal can become a valued musical study--a study that will be increasingly perceptive, insightful, and inspiring--a living art form.
The BIG Picture Expanding one's knowledge and insight can be a somewhat painful process, but always results in valuable growth. Such a process ought to be based upon asking many questions and giving few answers. The following points of departure might be considered.
1. As a conductor, do I listen only for obvious errors? Do I listen for subtle misrepresentations or ineffectiveness; lack of consistency in style, articulation, intonation, balance, nuance, etc.? In other words, am I missing an opportunity to improve performance because I accept non-error or lesser error as correct? Constant thoughts should include, "What can I do to make this better?" "I wonder what will happen if I try this . . . ."
2. How good is good enough? "Do I have a aural mental concept of my standard of performance for this piece?" Clearly, the value in having an aural road map is that the conductor knows what (s)he wants before the first note is sounded. That is, there is a perceived level of aural expectation. Rehearsals can then become more interesting, lively, effective, affective, purposeful, inherently valuable and fulfilling. They may even become life-changing!
3. Once in the rehearsal, the following questions must be considered by the conductor : a. What is this all about? What are the parts? What is the whole? b. What part has the melody? c. What part the counter melody? d. What is the significance of the other parts? e. What is happening in terms of breathing, tone production, attack and release, rhythm, expression, timbre, note and phrase shape, technical efficiency, pitch, affective growth (individually and collectively dynamics, nuance, et al.? f. Is my visual podium language helpful? Is it clear? Does the ensemble play the manner I conduct? g. Is my verbal podium language helpful? Is it interpretive? Is it descriptive? h. How much eye contact do I offer to the ensemble? Do I have enough eye contact with the musicians so that they know how I really feel about what is happening musically?[1] Do they understand my facial expressions? What is my face “saying?” i. When speaking to an individual or group in the ensemble, is my verbal language supportive and encouraging? Am I able to show respect for each musician, even while in "admonish mode?" 4. Do I record every rehearsal (audio and video)? How might such an endeavor be helpful? 5. When recording a rehearsal, do I play back "bits" to the band for immediate feedback? 6. What kind of verbal instructions do I give to the band when teaching musical style? That is, do I describe what I want? Do I demonstrate this on my instrument? Do I sing the style I want? If so, do I ask the band to imitate my singing?[2] 7. As I conduct, do I hear from the ensemble what I see in the score? Do I see in the score what I hear from the band? 8. What are my one-day goals for this piece? 9. What are my one-week goals for this piece? 10. What are overall musical goals for this piece? That is, where am I going? Is there more? 11. Why are we playing this piece? (Think seriously about this question!) 12. Is the piece "working?" If not, what needs to change? 13. I wonder how I can make this better . . .
Going Out On a Limb . . . A fine band director and friend once said that taking musical risk is " . . . like going out on a limb--the branch is thinner, but the air is so much fresher!" Risk-taking of any type is almost always dangerous. However, the amount of musical insight, aesthetic perception and artistic growth that an ensemble experiences in rehearsal is directly proportionate to the amount of risk the teacher/conductor is willing to assume. If a piece is "just right," that is, as conductor, if one is generally pleased with the direction and results of the rehearsals, (s)he should take the next critical step--the step to musical freedom by assuming musical risk. In such a manner, the teacher/conductor assumes an active role in recreating each piece studied, while keeping the composer's intent in mind.
For example, if the rehearsal agenda were to include a generic standard march, possible considerations might begin with the question, "I wonder what would happen if I . . . " a. Conducted it faster--slower--varied the tempo? b. Used only the woodwinds (no brass or percussion) at the Trio? c. Used only woodwinds and brass (no percussion) at the Trio? d. Transcribed the second strain for mallet instruments only? e. Used clarinets only, one octave lower at the Trio? f. Used bells only on the melody with woodwind accompaniment, omitting brass until the second time? g. On the last time through the last strain, asked the ensemble to play poco a poco diminuendo to the end--adding a slight ritardando on the last measure? h. Used woodwinds only on the dogfight? i. Employed only one player per part on the first time through the dogfight? j. Changed the seating for this piece? k. Placed different people on the parts? (Rotation of seating) l. Doubled the solo in differing instruments? m. Put the cornet solo in soprano saxophone? n. Asked the musicians to shape the staccato notes differently? o. Changed the accentuation of the percussion (or wind players) in the second strain? p. Brought the interesting counter melody to the fore, placing melody in the background? q. Experimented with various note shapes, mutes, seating, numbers of Instruments and balance effects, etc.?
There are many other options that could be listed. Depending upon the piece, some of the considerations may be inappropriate. However, conductors must seek to keep inventiveness as a critical element of interpretation. Clearly, this is not to suggest that a conductor has unlimited liberty in his or her interpretative endeavors, but rather that the rehearsal setting be imbued with artistic possibilities. The most subtle change can make a huge musical difference.
If, as conductors, our role is largely that of fixing mistakes, we are missing an essential element of the musical experience--the element of wonder. If truly creative learning is to occur for both teacher and students, the processes of score study, rehearsal planning and rehearsal execution must be overflowing with artistic questions, questions of wonder and imagination about musical possibilities. Behind the doors of such questions await new insight, greater understanding and musical fulfillment! HO #9 Mu 386, Instrumental Conducting
SCORE STUDY AND PREPARATION
There are many different and probably equally valuable methods for the subject at hand. We should, however, divide this area of study into two separate, but related parts: that process of score study which is really only cursory at best, and that process which allows the serious student (a label which applies to young conductors and seasoned professionals alike) to gain useful and valuable knowledge and insight to the piece. This document will attempt to focus on the latter of these two methods.
Overview
1. Title: What does it indicate in terms of style, form, tempo, expressive content? What do the terms "march," "rhapsody," "symphony," "sonata," "fanfare," "fantasy," etc. indicate?
2. Composer/Arranger: Who is/are this person(s)? What do you know about their style of composition from previous experience? When did they live and write? In which of their compositional periods was this piece written?
3. Tempo Marking: Is this an approximation, or an exact indication ("allegro" or quarter note = 120)? Do you know what "allegro,"
4. Style Marking: What general style is indicated at the beginning? What does this mean for each of the instruments? Do any articulation (bowing/tonguing) problems exist because of the style indicated? What about dynamic problems?
5. Key Signature: Is the tonality major, minor, or something else? Is the indicated key generally difficult for the ensemble? Are there any inherent problems in terms of specific instruments because of the key? Does this tonality lend itself well to the instruments?
6. Time Signature: Will this meter cause problems for the player in terms of general rhythm and keeping of time? Where may one expect to find accents or general points of emphasis? Does the meter pose any particular conducting problems in terms of specific baton technique?
7. Dynamic Markings: Is the dynamic marking the same for each instrument listed? If so, what are the balance and blend problems going to be? (Consider the ranges of each instrument, numbers of each instrument, the "spread" of a chord within a section or within the entire ensemble, and any immediate change of dynamics.) Does every instrument play at the beginning? Will there be intonation or articulation problems because of the indicated dynamic marking?
8. Rhythm: Is this a familiar rhythm for this ensemble? If so, what are the tendencies, i.e., what is likely to happen to dotted patterns, syncopation in one beat, quarter notes, etc.? If not standard or familiar, what are the problems for the various instruments? (Will irregular of difficult rhythm cause differing problems in terms of articulation, fingerings, dynamics, intonation, or balance?) Will the employed rhythms cause any inherent problems in terms of conducting?
9. Technical Spots: What must the conductor consider regarding each of items #1-#8 as (s)he proceeds through the piece and most of all of these indications change several times? Must (s)he ask the same questions as each change occurs?
Analysis 1. Do you have access to a recording for assistance in general direction of the piece--both in terms of vertical and linear applications?
2. What is the instrumentation? Does it change? Are any odd instruments called for?
3. Are there any uncommon transpositions or uncommon clefs?
4. Are you familiar with all of the terminology and special signs?
5. Where do the main themes and head motive begin and end, and in what instruments are they cast?
6. Who has the main melody each time it enters?
7. What is the overall form of the piece--sonata allegro, ABA, rounded binary, or a more contemporary form?
8. What are the tonalities throughout the work? Where do they modulate? What types of modulations are evident: What are the functions of the employed modulations?
9. Is the head motive (first important "chunk" of melodic material) augmented or diminished (in rhythmic terms) in various lines throughout the piece?
10. Are the main melodies used in accompaniment figures?
11. Do you note any special effects (modern techniques, special seating, antiphonal choirs, etc.) in the piece?
12. If part of the piece is repeated, how is it different in its repetition?
13. How does the piece get from one section to another, i.e., what types of transitions are employed? Do these transitions pose any particular problems for the players?
14. What events in the composer's life or in history may have influenced this composition?
15. Can you identify the development of the piece in terms of melody, harmony, rhythm, timbre, dynamics (IOW the elements or parameters) etc.?
16. What is the phrase structure of the piece? Is it regular or irregular?
17. What are some tendencies, i.e., use of low voices, hemiola, cross voicing, whole tone scales, invertible counterpoint, thirds relationships, programmatic application, scalar themes, etc. employed by the composer?
18. How does the composer use silence (recalling that "silence creates the style")?
Score Study (James Nielsen's thoughts . . .)
1. Sing every melody, melodic counterpoint, and contrapuntal arc in the score. This is essential for proper assimilation.
2. Analyze the harmonic background of all melodies and relate this to the phrase structure.
3. Pencil the phrase structure and breathing places.
4. Analyze the rhythmic structure of all melodic lines.
5. Analyze the rhythmic structure of the entire work.
6. Where are the accents, point of emphasis, and points of intensity?
7. Where are the climaxes--loud AND soft?
8. What happens at 61.8% (or 38.2%) into the piece (consider the "Golden Mean")?
9. Recall and analyze the work's intellectual content: form, timbres, sonorities, important voices (referring to balance), relationship of melody to harmony, proper tempi.
10. Now--sing every line (if you forgot to do it after reading item #1)
Marking the Score
1. Ensemble members and conductor number all measures.
2. Underline or mark in some fashion every melody and counterpoint.
3. Mark all entrance cues, single--(, >; section--[; and any other evident conducting problems.
4. Mark uncommon or difficult conducting PATTERNS in unusual measures (5-8, 7-8, et al.).
5. Mark and reinforce dynamic contrasts--this decision-making is part of the creative and interpretive process.
6. Mark all meter changes.
7. Mark all tempo changes--abrupt, and gradual (use metronome markings).
8. Mark all fermati or G.P.s.
9. Mark important releases and attacks (often cues).
10. Mark your personal points of nuance, balance, emotion.
11. Mark individual problems in given sections.
12. Mark any specific articulations.
13. Mark any points of subdivision (heavy rallentando, ritardando, etc.)
14. Mark specific rhythm problems, using counting.
15. Correct any errors, using the errata sheet, or your own knowledge of the piece.
Marking can be done with a black lead pencil, red pencil, or a combination of colors. (One may employ red for dynamics, blue for cues, yellow for tempo changes, etc.) The issue here is that all marking MUST result in clearing up any ambiguities in the score, and add to the conductor's complete understanding of the piece. One must make markings large enough to be seen and recognized easily, without obliterating the score. It is a good practice to mark only one concern at a time all the way through the score. Be sure also to mark changes which occur on the following page on the previous page, to avoid surprises on the podium.
Other Considerations
1. Tape a tab to the score for any repeats or D.C.'s.
2. Will your seating plan work for the piece under study?
3. Are there any fast mute changes?
4. Are there any fast instrument changes (in terms of doubling)?
5. Are there any fast bowing changes, i.e., pizz. to arco?
6. Remember to conduct the piece in a manner in which you would like to be conducted.
7. In all of your study, think in verbal specifics for solutions to problems--WRITE in the score margin these solutions. (Remember: "Writing maketh the exact man."--Sir Francis Bacon)
One must recognize that score study is absolutely critical. It does not guarantee success, but will bring the conductor much closer to his/her goals for a performance. It is also a positive force of your personality as a conductor and musician. Being prepared always feels better than being unprepared, and generally will lend increased respect to any podium artist.
Now that your have a conception of the piece in mind, you are ready to rehearse the conductor in front of the mirror. When this has been accomplished, then, and only then, put the piece into rehearsal with the ensemble. Best wishes for a rewarding and memorable musical experience!
revised Summer,1997 Conducting Rubric MUS 386 and MUS 387 NameCategory 1 3 5
(Rubrics are general statements. There may be other information, useful to the conductor, which is not included in the rubric grid.) IOW, an accurate assessment of conducting performance is unlikely to be based solely upon the rubric grid. Other comments:
[1]Too often, eye contact and general facial expression is undervalued by conductors --particularly band directors--as a means for establishing a musical relationship with the musicians. No amount of fine baton or hand conducting can replace an ineffective face. [2]Although certainly not a new concept, the use of singing to emphasize style and nuance is raised here to highlight its fundamental value in assisting the students to gain musical insight. Moreover, it is the writer's experience that singing is severely underutilized as a teaching tool in instrumental rehearsal settings. Singing may also offer an opportunity to involve choral conductors to become more involved with the education of instrumental students.
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