Communicating the Rehearsal Plan to the Group

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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

232 个评分

The University of North Carolina at Chapel Hill

音乐合奏排练基础

232 个评分

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.

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.

Planning Rehearsals8:08

Communicating the Rehearsal Plan to the Group3:59

Using Recordings in Rehearsal4:47

与讲师见面

Dr. Evan Feldman
Associate Professor & Wind Ensemble Conductor
Music

[MUSIC]

It can be useful to share your rehearsal

plan with the group, at a variety of levels.

At the macro level, this means, what pieces you're

going to be working on, and in what order.

If you have a whiteboard, or a blackboard, and I

realize there's no whiteboard or blackboard there, imagine there were.

You might list this piece, then that piece, then this piece.

Or maybe warm ups at the very beginning, and then on to those pieces.

Gives everyone a, the shape of the un, of the rehearsal.

Well, we're going to start with some technique work.

And, we're going to apply that to that, to that piece

we've been working hard on, then that expressive piece in the middle.

And, then we're going to end with this piece that we haven't done in a while.

I need to make sure I review that.

It's also useful for instrumentalists, like percussionists and doublers,

who want to know whether they need certain instruments.

So, percussionists might say, I see that we're doing the

Takelli, and I need three triangles for that of different sizes.

I'll make sure I get those out.

Otherwise, in the middle of rehearsal, we're saying, all right, take,

put that piece away, and let's move on to the Takelli.

And, the percussionists are, okay, I gotta run and get the triangles.

This way, they can get it, get them in advance.

Or, the oboe player, who might double on English Horn.

They, yep, we're going the piece, I need English Horn.

Make sure I, I take that out and warm up on it.

We could also put timings on that list.

So, the rehearsal starts at 7, then we move on to

the next piece at 7:30, the next one at 8:05, Et cetera.

This gives even more shape, and it's a little more satisfying that way.

Because, otherwise, people can be playing or singing, and wondering, are we going

to be working on this piece for 20 minutes, an hour and 20 minutes?

How long are we going to be doing this?

Like reading a book and not knowing when the chapter ends.

Is the chapter 20 more pages, 200 more pages?

When does this chapter end?

It just feels a little better to just know the shape of it, in advance.

And, it also gives, almost a deadline, so we

know, at 8:05, we're moving to this next piece.

We have that goal.

So, whatever we're working on we need to get it done.

So, it creates a little more sense of

urgency, as opposed to there being no timing

and a sense of, all right, we're going to work on this till, till we get it.

Dude, whatever.

We are not going to move on till we get it.

Well, that's, that's a different feeling potentially than,

no, at 8:05 we, we've got to get done.

Let's be efficient, and then move on to the next piece.

At the micro level, we can share, well certainly when we're

moving to a specific piece, certainly where we're starting in that

piece, but also where we're going to end, or what section we're

going to focus on, and what issues we're going to focus on.

Just as we calibrate our ears to

listen, it's useful to calibrate uh,the groups' ears.

So, they know all right, where we're going to be

working the letter a, on dynamics and pitch, especially in unison.

Okay, everyone's all right, I know what I really have to think about.

That can be very useful.

And, to say where we are going to go until.

So, we're going to go starting at letter a, and we're going to stop at letter c.

Or, we're just going to work on, today, letter a to letter g.

That's all we're going to work on.

That way, someone isn't counting rests, and they get to letter c,

and then we stop, because they didn't know we were stopping there.

And they were like 225,000, two, three, four, 225,001,

two, three, four, and oh man, he just stopped.

But, they know in advance.

Or, it just feels a little better to give them that heads up, when you can.

But, when it's possible, share the rehearsal plan with the

group, at the micro level, and at the macro level.

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