Learn and practice the basic principles of running an effective music ensemble rehearsal. Techniques and strategies are applicable to a variety of ensembles, including bands, orchestras, choirs, and chamber groups.
Addressing Intonation Issues
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来自 The University of North Carolina at Chapel Hill 的课程
音乐合奏排练基础
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从本节课中
Accompanimental Conducting and Intonation
Module 6 (our final week!) begins with a brief discussion about planning rehearsals, moves to techniques for accompanimental conducting, and then dips into the Rehearsal Toolkit for intonation strategies. The intonation section includes an introduction to overtones, harmonics, and temperaments. These are acoustic concepts for which at least a basic understanding is useful for knowing how to achieve good pitch. It’s a fascinating topic, and a great example of how we can apply science to art. The final few videos cover a miscellanea of rehearsal topics, including protecting one’s ears, the use of a podium, and set-up issues.
与讲师见面
Dr. Evan FeldmanAssociate Professor & Wind Ensemble Conductor
Music
[MUSIC]
[BLANK_AUDIO]
Music has to be thought of,
melodically and harmonically or horizontally and vertically.
For example, if you take this section here, this is measure one, six,nine.
[MUSIC]
Let's just break down the melody.
Only the folks that have.
[MUSIC]
Just those folks.
And just really listen to pitch as we go through.
[MUSIC]
Good, we adjusted nicely, I'm a little concerned about the
concert F that opens it, let's just hold the first note.
[MUSIC]
Go ahead and sing your pitch.
[MUSIC]
Yeah, yeah.
And you can sing it in a comfortable octave.
If, if you have to go into falsetto you can bring it down.
That's okay.
But be confident about it.
Let's try it again.
Sing that concert out.
[MUSIC]
Good, our singing pitch is good.
Can you match it with your instruments?
[SOUND].
[MUSIC]
That's good.
Someone's made some, some good adjustments.
So another technique that you, we can use, is that, play and then go ahead and sing.
You can, you toggle back and forth between.
[MUSIC]
And if you find it's.
[MUSIC]
You know, oh what, gosh I'm sharp, or whatever happens to be.
So use yourself as a reference.
Let's try that one more time.
[MUSIC]
Good.
Trumpet it still feels like we're not quite locked in.
And, I think, whatever you do, do something.
So if you, think you might be flat.
Well then bring the pitch higher.
And if it makes it worse, then you know it's the other way.
But do something so we don't just accept it.
Let's try it one more time.
[MUSIC]
Good, we'll give Taylor just a chance to work with that.
Ready?
>> [INAUDIBLE].
>> Good, let's try it one more time.
Actually I'll even.
Even better.
If we get a reference pitch, maybe a human drone from our tubers.
Can we just get a good, solid concert F?
[MUSIC]
Good, let's try the same thing with our melody hooks.
[MUSIC]
Good, so, so keep fighting.
It feels just like it's a little bit high, just riding a bit high.
So let's Tubas, if you can sustain that drone and let's go ahead and
play the melody in context and keep referring it back to our tonic drums.
[MUSIC]
Good, we're not going to micromanage it now, but be very
attentive to the pitch on the down beat of the second measure.
We have the concert D.
Okay, one more time.
And just fight it.
Whatever you do, just don't accept it if you know it's not good.
One, six, nine.
[MUSIC]
Good, that's coming along.
The, the most important thing is that we take individual responsibility for
our pitch and adjust it and evaluate ourselves and then adjust again.
Let's go everybody in one, six nine.
Because it's also important that we hear this
F in the context now of the vertical harmony.
So let's just hold the downbeat of one,
six, nine, and make sure we get good F-major.
[MUSIC]
Yeah, let's break this down.
Because of the upper, that upper F, it's a little bit bright.
We can make sure it's balanced well and that it's dark.
Can we hear all concert Fs in any range?
So the root of the chord.
[MUSIC]
Good then, yeah the C, so Fs and Cs.
Root and fifth the two most important notes of this chord.
[MUSIC]
Good.
And we can bring out those Cs.
because it's higher, in a hierarchy, a route, or tonic, F is the most important.
C would be the second most important and a pretty close second.
And then those As would be a a distant third.
So because of how, high those F is scored, it's going to come out very strong.
You have to make sure those, Cs are balanced with it.
One more time.
[MUSIC]
Good, let's hear the whole triad.
So the E-Naturals and the Es are a little
bit like ammonia, just a little dab will do you.
And it will be plenty clear.
[MUSIC]
Just for darkness and pitch just sing that pitch.
[MUSIC]
Yeah, we can tell that your minds ear is not quite connected to our,
to our, our music making apparatus because there was a little bit of [SOUND].
Hear it in your minds ear.
And then lets sing it.
So here it, sing it.
[MUSIC]
That's quite nice, make your instruments obey.
[MUSIC]
Let's go to the note on B3, so melodically this is
now a concert C, but it's still, vertically part of our triad.
So here's B3, we'll tune that also.
[MUSIC]
Not quite as locked in, go ahead and sing that pitch.
[MUSIC]
Yeah, the Cs were very confident, that [SOUND] but everyone else is
a little bit oh, I'm not sure where it is, where it is.
Hear it in your head, and let's externalize it, sing it.
[MUSIC]
Good, even though we're doing pitch, can we get good rhythm?
So let's make the, the initial attack good.
Sing it.
[MUSIC]
That was better but not good, again.
[MUSIC]
Good, let's play it, B3.
[MUSIC]
Good, let's try it in context.
One, six, nine with everybody in rhythm.
Here we go.
[MUSIC]
Good, now, let's break down the compliment even more.
Can we hear just whole notes please at one, six, nine.
And just listen to how the harmony shifts from measure to measure.
[MUSIC]
Yeah, and the great thing about this is how the harmony
that we have on, in measure one is completely constant and
the measure two it shifts and has a little bit of
dissonance and we've, I think that we can break that down.
We can help that balance and appreciate the progression a little more.
Can we just hear folks who, in the very
beginning of that measure, whole notes at F and Cs?
Concert Fs and Cs.
Actually, actually let's just do tuba and euphonium would be great.
Tuba and euphonium opening.
[MUSIC]
Good, so that stays F and C.
Could we just try our trombones, [SOUND] which
are basically moving from F major to G major.
It's parallel but we'll still allow it.
[MUSIC]
Good, so gotta think of yourselves try for the first
note, try for the second even though they're going to move.
They're not going to move, they're going to stay steady on the F and C.
Try it one more time so that G major locks in.
[MUSIC].
Good, we, we adjusted the B-Natural.
Can we, can we get there before we actually get there?
And just the before.
Here's the beginning again.
[MUSIC]
Good, so let's add our two tuba and euphoniums there.
And so I think beat two can just be a little
bit stronger so we hear very good G major, crunching against that.
Yeah?
>> [INAUDIBLE].
>> We'll leave that out for now.
We're going to create this color and then we'll build that in.
Thank you.
Here's one, six, nine, those folks.
[MUSIC]
Good, and well get that kind of great whoo throb which is great.
So let's add everybody else who has whole notes now.
And, think of yourself as inside that
color with the same harmony, one, six,nine.
[MUSIC]
Good, here's everyone one, six, nine, we put this all in
context, and think about listening, horizontally,
in terms of our melody, vertically,
in terms of how those, those melody, fit notes, fit in
pitch wise, and also, how we have a little bit of distance.
On the second measure.
One, six, nine.
[MUSIC]
[BLANK_AUDIO]
