92 lines
4.8 KiB
Markdown
92 lines
4.8 KiB
Markdown
%title Conducting notes
|
|
|
|
* Rehearsal Techniques
|
|
* concert - work is done - this is payoff
|
|
* knowing how to work
|
|
* teachers primarily (what do we teach every day)
|
|
* help students become independent musicians (better)
|
|
* pitfalls - try to do everything for student - don't give students any space - CD least effective way of teaching (may get product)
|
|
* benevolent dictator!
|
|
* choose appropriate repertoire for each ensemble
|
|
* Choir rebels: almost always about person, not about music - build trust, make students know that this is good
|
|
* New Teacher w/ new music, students rebel because treat as group, not soloists
|
|
* prev teachers picked rep to highlight soli, thus more about person, new style teaching for group
|
|
* music = tool
|
|
* get good tools (good music subjective)
|
|
* language - latin easiest, good for teaching vowels, phrasing, articulation
|
|
* mainstream - palastrina to '50s, proven, give whats good for students
|
|
* research - what does music teach? too hard? research to fit ensemble (transcription, transposition)
|
|
* back-up plan rep, but.. not about sudents, about self b/c students will never learn more than teacher knows
|
|
* Have high expectations
|
|
* rehearsal
|
|
* sight read ALL THE TIME
|
|
* "listen", not "watch me": focus on one, lose the other, stop conducting sometimes internalize
|
|
* interact - ask questions
|
|
* always conduct best students ~ 10% ~ create leaders, not boredom
|
|
* give them reason to watch you: never stop MAKING MUSIC
|
|
* be respectful: "ladies", "gentlemen", etc: treat them that way and they will act that way "Let us", "could we", not "let me" Be inclusive of rest of choir
|
|
* Involve as many parts as possible, no boredom, no singling out, stay focused
|
|
* always give reasons for work "lets go back and fix.."
|
|
* always give feedback, but be honest "that was the idea but if __ it would be better"
|
|
* use vague terms, often works because students think, "beautiful", "musical", "expressive" sometimes: "that was not good" make them think about why
|
|
* no hipocrisy! always do it yourself first
|
|
* admit mistakes and fault or at least don't blame students if not their fault
|
|
* dont talk too much - as much music as possible
|
|
* dont leave others behind (ie some work on notes some on phrasing), but always give everyone work
|
|
* always do everything - phrasing and articulation while learning notes
|
|
* ensemble - everyone should be complimentary - creative seating and paring of abilities
|
|
* plan for productive rehearsal - macro: battle plan -> micro: attack plan
|
|
* in general: early: big picture, mid: small details, end: put it together (milestones!)
|
|
* plan times (milestones!)
|
|
* dont eschew explanation: change concept of macro based on a piece (ie epitaph for moonlight)
|
|
* overperfection
|
|
* process vs product
|
|
* humanity + emotion vs being polished
|
|
* no overrehearsing
|
|
* overpolished
|
|
* getting stuck/bored
|
|
* music loses warmth
|
|
* lost expressivity
|
|
* cold, straight tone
|
|
* from conductors wishes
|
|
* sound vs music
|
|
* sound has to fit music and text, not the choir
|
|
* people dont listen to sound, but music
|
|
* conducting follows music, after all
|
|
* conductor
|
|
* breathing
|
|
* text + nuances - speak it
|
|
* know difficulties and why
|
|
* voice difficulties (passagio)
|
|
* keys (flats better, more flats more betteR)
|
|
* lack of trust shown in focusing on direction instead of rebound
|
|
* rehearsal techs:
|
|
* fine tuning vowels (english is difficult) when ascending, think down; when descending, think up
|
|
* phrasing and breathing - breathiness
|
|
* purpose of rehearsal: diagnose problem (isolate), provide remedy
|
|
* demonstrate (more)/explain (less)
|
|
* then feedback
|
|
* teach students EVERYTHING at the same time (because practice makes permanent)
|
|
* doing too much/wrong things - easier to ask forgiveness than permission
|
|
* what goes up must come down and vice versa - natural cycles in conducting and music
|
|
* no choral conducting, no instrumental conducting, just conducting
|
|
* paint a picture with conducting
|
|
* Britten
|
|
* dry ice
|
|
* phantom: setting up mood before, phantom appears at "thou art the king.."
|
|
* adjectives to go with every section, every note
|
|
* problem directors
|
|
* self control
|
|
* admitting mistakes
|
|
* self confidence and respect -> respect others
|
|
* no apologies: dictatorship
|
|
* ensemble never knows more than conductor: always know more
|
|
* own the piece
|
|
* self deprecation to make a point
|
|
* line between student and conductor
|
|
* give reasons/justification
|
|
* dont get used to choir
|
|
* empathy with singers - lots of work for them
|
|
* q: why aren't you singing what I want? a: why aren't you showing what you want?
|
|
* preachers on the pulpit in our influence (???)
|