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< title > Zk | Conducting notes< / title >
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< h1 > Zk | Conducting notes< / h1 >
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< li > Rehearsal Techniques< / li >
< li > concert - work is done - this is payoff< / li >
< li > knowing how to work< / li >
< li > teachers primarily (what do we teach every day)< / li >
< li > help students become independent musicians (better)< / li >
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< li > pitfalls - try to do everything for student - don’ t give students any space - CD least effective way of teaching (may get product)< / li >
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< li > benevolent dictator!< / li >
< li > choose appropriate repertoire for each ensemble< ul >
< li > Choir rebels: almost always about person, not about music - build trust, make students know that this is good< / li >
< li > New Teacher w/ new music, students rebel because treat as group, not soloists< / li >
< li > prev teachers picked rep to highlight soli, thus more about person, new style teaching for group< / li >
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< li > music = tool < ul >
< li > get good tools (good music subjective)< / li >
< li > language - latin easiest, good for teaching vowels, phrasing, articulation< / li >
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< li > mainstream - palastrina to ’ 50s, proven, give whats good for students< / li >
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< li > research - what does music teach? too hard? research to fit ensemble (transcription, transposition)< / li >
< li > back-up plan rep, but.. not about sudents, about self b/c students will never learn more than teacher knows< / li >
< li > Have high expectations< / li >
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< li > rehearsal< ul >
< li > sight read ALL THE TIME< / li >
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< li > “ listen” , not “ watch me” : focus on one, lose the other, stop conducting sometimes internalize< / li >
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< li > interact - ask questions< / li >
< li > always conduct best students ~ 10% ~ create leaders, not boredom< / li >
< li > give them reason to watch you: never stop MAKING MUSIC< / li >
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< li > 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< / li >
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< li > Involve as many parts as possible, no boredom, no singling out, stay focused< / li >
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< li > always give reasons for work “ lets go back and fix..” < / li >
< li > always give feedback, but be honest “ that was the idea but if __ it would be better” < / li >
< li > use vague terms, often works because students think, “ beautiful” , “ musical” , “ expressive” sometimes: “ that was not good” make them think about why< / li >
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< li > no hipocrisy! always do it yourself first< / li >
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< li > admit mistakes and fault or at least don’ t blame students if not their fault< / li >
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< li > dont talk too much - as much music as possible< / li >
< li > dont leave others behind (ie some work on notes some on phrasing), but always give everyone work< / li >
< li > always do everything - phrasing and articulation while learning notes< / li >
< li > ensemble - everyone should be complimentary - creative seating and paring of abilities< / li >
< li > plan for productive rehearsal - macro: battle plan -> micro: attack plan< ul >
< li > in general: early: big picture, mid: small details, end: put it together (milestones!)< / li >
< li > plan times (milestones!)< / li >
< li > dont eschew explanation: change concept of macro based on a piece (ie epitaph for moonlight)< / li >
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< li > overperfection< ul >
< li > process vs product< / li >
< li > humanity + emotion vs being polished< / li >
< li > no overrehearsing< ul >
< li > overpolished< / li >
< li > getting stuck/bored< / li >
< li > music loses warmth< / li >
< li > lost expressivity< / li >
< li > cold, straight tone< / li >
< li > from conductors wishes< ul >
< li > sound vs music< / li >
< li > sound has to fit music and text, not the choir< / li >
< li > people dont listen to sound, but music< / li >
< li > conducting follows music, after all< / li >
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< li > conductor< ul >
< li > breathing< / li >
< li > text + nuances - speak it< / li >
< li > know difficulties and why< ul >
< li > voice difficulties (passagio)< / li >
< li > keys (flats better, more flats more betteR)< / li >
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< li > lack of trust shown in focusing on direction instead of rebound< / li >
< li > rehearsal techs:< ul >
< li > fine tuning vowels (english is difficult) when ascending, think down; when descending, think up< / li >
< li > phrasing and breathing - breathiness< / li >
< li > purpose of rehearsal: diagnose problem (isolate), provide remedy< ul >
< li > demonstrate (more)/explain (less)< / li >
< li > then feedback< / li >
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< li > teach students EVERYTHING at the same time (because practice makes permanent)< / li >
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< li > doing too much/wrong things - easier to ask forgiveness than permission< / li >
< li > what goes up must come down and vice versa - natural cycles in conducting and music< / li >
< li > no choral conducting, no instrumental conducting, just conducting< / li >
< li > paint a picture with conducting< ul >
< li > Britten< ul >
< li > dry ice< / li >
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< li > phantom: setting up mood before, phantom appears at “ thou art the king..” < / li >
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< li > adjectives to go with every section, every note< / li >
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< li > problem directors< ul >
< li > self control< / li >
< li > admitting mistakes< / li >
< li > self confidence and respect -> respect others< / li >
< li > no apologies: dictatorship< / li >
< li > ensemble never knows more than conductor: always know more< / li >
< li > own the piece< / li >
< li > self deprecation to make a point< / li >
< li > line between student and conductor< / li >
< li > give reasons/justification< / li >
< li > dont get used to choir< / li >
< li > empathy with singers - lots of work for them< / li >
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< li > q: why aren’ t you singing what I want? a: why aren’ t you showing what you want?< / li >
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< li > preachers on the pulpit in our influence (???)< / li >
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< p > Page generated on 2020-06-24< / p >
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