Excellent Rehearsals Everyday!

Transcription

1 Excellent Rehearsals Everyday! Lynn Cooper Ed.D. Professor of Music (Retired) Asbury University Wilimore, KY Cell: Midwest Clinic December 15, 2016 McCormick Convention Center Chicago, Illinois Sponsored by: GIA Publications, Inc.

2 Performance constitutes only the public face of your instrumental program. The essence of your program is to be found in the experiences generated by your rehearsals. Often a single experience will open the young soul to music for a whole lifetime. This experience cannot be left to chance. It is the duty of the school to provide it. Zoltán Kodály Quality Rehearsals Quality and Content of the Daily Rehearsals Students learn to understand, appreciate, and love music. Students have a genuine aesthetic experience. Students become more musical in the time. Students develop new technical skills. Students learn music history, literature, and theory. The attitude and seriousness of purpose displayed every day determines the quality of the experience students take from their years in band or orchestra. Exhibit a love for music, a wide knowledge of music and a genuine desire to impart those things to you students. People think I m disciplined. It is not discipline it is devotion. There is a great difference. Luciano Pavarotti 2

3 Four Principles of Rehearsal Preparation Singleton and Anderson (1969) list four principles of rehearsal preparation: 1. Choose quality music 2. Get a full score and study it carefully Inspiration is a guest that does not willingly visit the lazy. Pyotr Ilyich Tchaikovsky 3. Practice conducting each piece Technique is Communication: the two words are synonymous in a conductor. Leonard Bernstein 4. Listen and Study recordings of your daily rehearsals Plan for Excellence! Long-range, full year, semester or the block before your next concert! Weekly plan more detail, overview of each rehearsal! Daily plan specifics needing attention, and the time needed for each. Plan daily and revise constantly The ability to plan with purpose and focus is often singled out as the factor which best describes the truly effective teacher. Donald Metz 3

4 Daily Plan Basics! Warm-up & tuning! Technique building! Major problems to be addressed that day! Review of other literature! Sight-reading! Complete play-through Activities Prior to Warm-Up " Establish a Policy of Quiet and Order " Combine time spent assembling instruments Announcements and Attendance Listening Activities # Recordings of Rehearsal Literature # Recordings Similar Pieces # Recordings of outstanding soloists # Reading Drills with Flash card/slides Students may practice an Individual warm-up time by teaching a small repertoire of short individual warm-ups for each instrument. Earmark a specific time period for individual warm-up immediately preceding fullensemble warm-ups. 4

5 Full Ensemble Warm-Up Strategies Warm-up Guidelines! Seriousness of purpose! Finest intonation! Correct hand & body positions! Good breath support! Focus of mind, body, & instrument Warm-Up Structure relating to Rehearsal s Literature! Scales: Long Tone Scales Scale Patterns! Rhythm Pattern Drills! Etudes! Chord Progressions! Chorales: Balance Blend Ensemble Tone! Tone Quality Emphasis Student Models Embouchure Mouthpieces Instruments 5

6 You can t tune a bad tone.! Initial Tuning * Effective Warm-up! Low, Slow, & Soft! Aural awareness! Tone Quality Development of fine characteristic tone # Own Sound # Neighbor s Sound # Ensemble Sound You can enchant people with one sound. There is no substitute for tone quality. William D. Revelli! Blend! Balance: Frances McBeth s Balance Pyramid Effective Performance of Band Music 6

7 In-Tune singing develops in-tune playing! Sing Scales! Sing a Chord Progression! Sing Chorales Teaching an ensemble to sing well and in-tune leads to an ensemble that plays with better intonation, blend and phrasing. Basic I IV V I Chord Progression used in any key 1) Establish an understanding of scale step numbers by having the ensemble play a major scale as you state the scale step numbers (DO, or the 1st step; RE, or the 2nd step; etc.). 2) Assign the four-note sequence found in the part assignment. Remind the ensemble to play in a comfortable range not too high, not too low. 3) Play the chord progression as whole notes or with a fermata on each pitch. 4) Once the ensemble knows the scale step numbers for their part, they can play the progression in any key. Try it with your ensemble! 7

8 Part One (Soprano): Play scale steps: 8, 8, 7, 8 (Violin 1, Flute, Clarinet 1, Alto Sax 2 [low octave], Cornet/Trumpet 1, Horn 3 [low], Trombone 2) Part Two (Alto): Play scale steps 5, 6, 5, 5 (Violin 2, Oboe, Clarinet 2, Alto Sax 1, Cornet/Trumpet 2, Horn 1, Euphonium) Part Three (Tenor): Play scale steps 3, 4, 2, 3 (Viola/Violin 3, Clarinet 3, Alto Clarinet, Bassoon 1, Tenor Sax, Cornet/Trumpet 3, Horn 2, Trombone 1) Part Four/Bass: Play scales steps 1, 4, 5, 1 (Cello, String Bass, Bassoon 2, Bass Clarinet, Baritone Sax, Horn 4, Trombone 3, Tuba) $ Play chord progressions at different dynamic levels $ Play chord progressions with different technical patterns $ Play the chord progressions with proper balance at a piano $ Play the chord progression with crescendo. 8

9 Ensemble Intonation Tuning is a Journey toward a Destination. Tuning Options $ Pitch is sounded Students hum the pitch to internalize Ensemble plays pitch beginning with tuba, building as successively higher toned instruments are added $ Bass Line Approach to Tuning $ Most Appropriate Note Approach to Tuning $ Chord Approach to Tuning $ Electronic Tuner Tuning should be an intentional process, not one of those caught, not taught kind of experiences. 9

10 Technique Building $ Creative and effective teachers will be diligent about finding appropriate technical development material. Recommended warm-up and technique books are listed at the end of this handout. Problem Solving Options $ Begin with problems areas at the end of the piece and work your way back to the beginning. $ Make study assignments of problem areas for students $ Provide Notes to Myself Cards for student's stands 10

11 $ Have Rehearsal Notes prepared for students use. Conducting Personality "The entire conducting process is a combination of leading the group and responding to them at the same time. Steve Pratt Our Responsibilities $ Listen. $ Force yourself away from listening to melody only $ Force yourself from focusing on our own primary instrument. $ Work on the inner parts of the piece. $ Listen even more completely. $ Rehearse musical details. $ Teach musical styles (styles transfer to other pieces). Rehearsal Environment $ Orderliness $ Appropriate chairs $ Tuner available prior to rehearsal $ Rehearsal schedule visible/available $ Appropriate storage areas (that are actually used) $ A high quality music play back system 11

12 "The best teachers have mastered setting the classroom climate. Inexperienced teachers struggle, in part, because they cannot set the tone of each rehearsal." Barbara Lambrecht Ensemble Sight-Reading Sight-Reading "...the true test of musical independence." Elizabeth Green Study Suggestions Prior to a Contest Sight-reading Event # Keep student talking at a minimum. # Have students study their music for: Key (and key changes) Meter (and meter changes) Tempo (and tempo changes) Style at beginning (and changes) All repeats (esp. D.S.s, D.C.s, and Coda) Solos Technically difficult sections ("practice" them silently) # Ask questions following individual study to insure students are aware of the above components. # Make sure students have been taught appropriate musical terminology so that their questions to you can be concise. # Encourage students to first consider if their stand partner might answer their questions. # Point out similarities to pieces they have played. It is a good idea to practice this whole process often, prior to festivals. Include adherence to all rules and time constraints. "Time spent on sight-reading, ear training, listening, and drilling on musicianship rather than technique may in time produce musicians capable of more difficult numbers, if the conductor has patience." Colwell and Goolsby 12

13 Recommended warm-up and technique books for band: Habits of a Successful Middle School Musician: Jeff Scott, Emily Wilkinson, Scott Rush, Kevin Boyle GIA Publications, Inc. Habits of a Successful Musician: Scott Rush GIA Publications, Inc. Habits of a Successful Middle School Musician: Jeff Scott, Emily Wilkinson, Scott Rush, Kevin Boyle GIA Publications, Inc. 101 Rhythmic Rest Patterns: Grover C. Yaus Alfred Publishing Company 14 Weeks to a Better Band 1 & 2: Roger Maxwell C.L. Barnhouse Company Bach and Before for Band: David Newell Neil A. Kjos Music Company Chorale Masters: Jim Curnow: Hal Leonard Publishing Exercises for Ensemble Drill: Raymond C. Fussell Alfred Publishing Company Habits of a Successful Musician: Rich Moon & Scott Rush GIA Publications, Inc. I Recommend: James Ployhar Alfred Publishing Company Lip Benders: Frederick C. Ebbs and Ray Cramer Curnow Music Press, Inc. Sixteen Chorales by J.S. Bach: Mayhew Lake G. Schirmer, Inc. Sound Innovations: Ensemble Development for Intermediate Concert Band: Peter Boonshaft & Chris Bernotas - Alfred Music Publishing Sound Innovations: Ensemble Development for Advanced Concert Band: Peter Boonshaft & Chris Bernotas - Alfred Music Publishing Symphonic Warm-ups for Band: Claude T. Smith Hal Leonard Publishing Tone Studies for Band: James Curnow Curnow Music Press, Inc. Tone Studies 2 for Band: James Curnow Curnow Music Press, Inc. Treasury of Scales: Leonard B. Smith Alfred Music Publishing 13

14 Recommended warm-up and technique books for strings: Habits of a Successful String Musician: Christopher Selby, Scott Rush GIA Publications, Inc. 41 Chorales for Orchestra: Phillip Gordon Bourne Company Bach and Before for Strings: David Newell Neil A. Kjos Music Company Essentials for Strings: Gerald Anderson Neil A. Kjos Music Company Sound Innovations: Sound Development for Intermediate String Orchestra: Kirk Moss & Bob Phillips Alfred Music Publishing Sound Innovations: Sound Development for Advanced String Orchestra: Kirk Moss & Bob Phillips Alfred Music Publishing For Reference and Further Reading Colwell, Richard J. and Goolsby, Thomas (1992). The Teaching of Instrumental Music (2nd ed.). Englewood Cliffs, NJ: Prentice-Hall, Inc. Franks, Earl (1996). Without wasting words or time: An interview with John M. Long. The Instrumentalist. February, pp Garofalo, Robert (1983). Blueprint for Band (revised ed.). Ft. Lauderdale, FL: Meredith Music Publications. Goldman, Richard F. (1946). The Concert Band. New York, NY: Rinehart & Company, Inc. Gordon, Edwin (1988). Learning Sequences in Music. Chicago: GIA Publications, Inc. Green, Elizabeth A.H. (1966). Orchestral Bowings and Routines. Ann Arbor: Campus Publishers. Hoffer, Charles R. (1983). Teaching Music in the Secondary Schools (3rd ed.). Belmont, CA: Wadsworth Publishing Company. Kennell, Richard (1989). Musical Thinking in the Instrumental Rehearsal. In Dimensions of Musical Thinking, ed. by Eunice Boardman. Reston, VA: Music Educators National Conference. (pp ). Lambrecht, Barbara (2005). The rehearsal begins at the door. The Instrumentalist. November, pp

15 Lautzenheiser, Tim (1992). The Art of Successful Teaching: A Blend of Content and Context. Chicago: GIA Publications, Inc. Leonhard, Charles, and House, Robert W. (1972). Foundations and Principles of Music Education. New York: McGraw-Hill Book Company. Lisk, Edward S. (1991). The Creative Director: Alternative Rehearsal Techniques (3rd ed.). Ft. Lauderdale, FL: Meredith Music Publications. McBeth, W. Francis (1972). Effective Performance of Band Music. San Antonio, TX: Southern Music Co. Moss, Bruce. (1995). Curnow on composing. The Instrumentalist. April, pp Neidig, Kenneth L. (1964). The Band Director s Guide. Englewood Cliffs, NJ: Prentice- Hall, Inc. Pautz, Mary (1989). Musical Thinking in the Teacher Education Classroom. In Dimensions of Musical Thinking, ed. by Eunice Boardman. Reston, VA: Music Educators National Conference. (pp ). Reynolds, H. Robert (1993). Guiding principles of conducting. BD Guide, 7/4, pp Rocco, Roger (1991). Band music and the paper-plate mentality: An interview with W. Francis McBeth. The Instrumentalist, 46/5 (December), pp Shuler, Scott C. (1989). Music learning sequence techniques in instrumental performance organizations. From Readings in Music Learning Theory. Chicago: GIA Publications, Inc. Singleton, Ira C., and Anderson,Simon V. (1969). Music in the Secondary Schools, 2nd ed. Boston: Allyn and Bacon, Inc. Thomson, John (1995). Teaching with goals, not answers: an interview with John Whitwell. The Instrumentalist. December, pp Williamson, John E. and Neidig, Kenneth L., ed. (1998). Rehearsing the Band. Cloudcroft, NM: Neidig Services. Wise, Phillip C. (1996). So...You re The New Band Director: Now What? Needham Heights, MA: Simon & Schuster Custom Publishing. 15

16 Dr. Lynn Cooper retired in 2007 as Chair of the Music Department and Professor of Music at Asbury University in Wilmore, KY. He conducted the Concert Band and taught courses in conducting and instrumental music education. Prior to his 1985 appointment at Asbury University, he taught in the public schools of Michigan for 19 years, the last 14 of those spent developing an outstanding band program at Ypsilanti High School. Dr. Cooper is an active adjudicator, clinician, guest conductor, and author. He has given clinics at state, regional, and national conferences throughout the United States. His textbook for the college instrumental methods course, Teaching Band & Orchestra, which was originally published in 2004 with the Second Edition published in 2015, has become the standard textbook for that course. Dr. Cooper served on the Board of Directors of KMEA for 16 years, including a two-year term as president. He was awarded the Distinguished Service Award from KMEA in 2009, and the Outstanding Contributions to Bands Award by the Kentucky chapter of Phi Beta Mu in He also serves on the Board of Advisors with the Center for Music Education at Sam Houston State University in Texas. He received his Bachelor of Music and Master of Music from The University of Michigan, and his Doctor of Education from the University of Kentucky. L y n n G. C o o p e r Teaching Band & Orchestra Methods and Materials Second Edition Lynn C. Cooper Teaching Band & Orchestra: Methods and Materials is a classic in the field of instrumental music education the ideal text for college instrumental students and an invaluable reference for practicing teachers. This book covers every critical area in the professional life of band and orchestra teachers at the beginning and secondary levels. Author Lynn G. Cooper shares the experience and knowledge he has gained from more than 40 years of teaching instrumental music and music education. Topics include recruiting and retention, creating lesson plans, assessment, curriculum development, selecting literature, running effective rehearsals, organizing concerts, and much more. This Second Edition is significantly expanded and updated, and it includes major new sections on advocacy, technology, and the challenges of teaching middle school students. There are new suggestions for teaching strings, completely new and expanded string and full orchestra literature lists, and more suggestions for the non-string player who is assigned a string class. Teaching Band & Orchestra also goes into detail about the administrative realities of being a music teacher, from the job search to fundraising to motivating your students. A plethora of forms, sample letters, charts, and lists of suggested literature round out this enlighteninig text. Sample course syllabi and additional supplemental resources are available online. G-9084 Hardcover, 492 pages... $47.95 GIA Publications, Inc S. Mason Avenue, Chicago, IL (800) or (708) Fax (708)