148 lines
6.2 KiB
HTML
148 lines
6.2 KiB
HTML
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<title>Zk | Conducting notes</title>
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<h1>Zk | Conducting notes</h1>
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<article class="content">
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<ul>
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<li>Rehearsal Techniques</li>
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<li>concert - work is done - this is payoff</li>
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<li>knowing how to work</li>
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<li>teachers primarily (what do we teach every day)</li>
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<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>
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<li>choose appropriate repertoire for each ensemble<ul>
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<li>Choir rebels: almost always about person, not about music - build trust, make students know that this is good</li>
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<li>New Teacher w/ new music, students rebel because treat as group, not soloists</li>
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<li>prev teachers picked rep to highlight soli, thus more about person, new style teaching for group</li>
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</ul>
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</li>
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<li>music = tool <ul>
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<li>get good tools (good music subjective)</li>
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<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>
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<li>back-up plan rep, but.. not about sudents, about self b/c students will never learn more than teacher knows</li>
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<li>Have high expectations</li>
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</ul>
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</li>
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<li>rehearsal<ul>
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<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>
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<li>always conduct best students ~ 10% ~ create leaders, not boredom</li>
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<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>
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<li>always give feedback, but be honest “that was the idea but if __ it would be better”</li>
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<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>
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<li>dont leave others behind (ie some work on notes some on phrasing), but always give everyone work</li>
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<li>always do everything - phrasing and articulation while learning notes</li>
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<li>ensemble - everyone should be complimentary - creative seating and paring of abilities</li>
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<li>plan for productive rehearsal - macro: battle plan -> micro: attack plan<ul>
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<li>in general: early: big picture, mid: small details, end: put it together (milestones!)</li>
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<li>plan times (milestones!)</li>
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<li>dont eschew explanation: change concept of macro based on a piece (ie epitaph for moonlight)</li>
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</ul>
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</li>
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</ul>
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</li>
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<li>overperfection<ul>
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<li>process vs product</li>
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<li>humanity + emotion vs being polished</li>
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<li>no overrehearsing<ul>
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<li>overpolished</li>
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<li>getting stuck/bored</li>
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<li>music loses warmth</li>
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<li>lost expressivity</li>
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<li>cold, straight tone</li>
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<li>from conductors wishes<ul>
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<li>sound vs music</li>
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<li>sound has to fit music and text, not the choir</li>
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<li>people dont listen to sound, but music</li>
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<li>conducting follows music, after all</li>
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</ul>
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</li>
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</ul>
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</li>
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</ul>
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</li>
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<li>conductor<ul>
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<li>breathing</li>
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<li>text + nuances - speak it</li>
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<li>know difficulties and why<ul>
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<li>voice difficulties (passagio)</li>
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<li>keys (flats better, more flats more betteR)</li>
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</ul>
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</li>
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</ul>
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</li>
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<li>lack of trust shown in focusing on direction instead of rebound</li>
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<li>rehearsal techs:<ul>
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<li>fine tuning vowels (english is difficult) when ascending, think down; when descending, think up</li>
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<li>phrasing and breathing - breathiness</li>
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<li>purpose of rehearsal: diagnose problem (isolate), provide remedy<ul>
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<li>demonstrate (more)/explain (less)</li>
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<li>then feedback</li>
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</ul>
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</li>
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<li>teach students EVERYTHING at the same time (because practice makes permanent)</li>
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</ul>
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</li>
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<li>doing too much/wrong things - easier to ask forgiveness than permission</li>
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<li>what goes up must come down and vice versa - natural cycles in conducting and music</li>
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<li>no choral conducting, no instrumental conducting, just conducting</li>
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<li>paint a picture with conducting<ul>
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<li>Britten<ul>
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<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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</ul>
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</li>
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<li>adjectives to go with every section, every note</li>
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</ul>
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</li>
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<li>problem directors<ul>
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<li>self control</li>
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<li>admitting mistakes</li>
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<li>self confidence and respect -> respect others</li>
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<li>no apologies: dictatorship</li>
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<li>ensemble never knows more than conductor: always know more</li>
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<li>own the piece</li>
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<li>self deprecation to make a point</li>
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<li>line between student and conductor</li>
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<li>give reasons/justification</li>
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<li>dont get used to choir</li>
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<li>empathy with singers - lots of work for them</li>
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</ul>
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</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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</ul>
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</article>
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<footer>
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<p>Page generated on 2020-06-24</p>
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