Greetings!  I am aware that it has been a long while since my last post, but I have been doing much thinking and review as I reflect on  my private teaching studio and guest rehearsal clinics I have given over the past few months and thought that you might find my musings interesting!

In fact, I am currently serving as an interim conductor for the Tasmanian Youth Symphony’s Sinfonietta Ensemble this autumn/winter term.  As a temporary member of the coaching, conducting and tutor staff of the Tasmanian Youth Symphony Programme I have been asked to comment on my challenges, and experiences so far...
 
For me one of the challenges of working with the Sinfonietta Ensemble is the length of time between public performances (March – August). Concerts are not ‘destinations’, but provide opportunities for ensembles to experience both growth and progress. We ask students to invest in training and skill development. And, in turn public performances provide occasions in which ensemble members receive tangible returns for their investment.  However, when there is too much time between ‘investment and return’, interest in this process can be seriously impacted. Therefore, given the length of time between performances, I thought that it would be beneficial to introduce the ensemble to my method of rehearsing, drawn from a 'back-to-basics' philosophy, with a view to exploring the rewards of ‘intrinsic’ motivation. I believe that every rehearsal should include compelling examples of how one should practice at home for personally rewarding results.
 
Many of you would know that my method of rehearsal includes the use of various learning strategies, such as ‘comparative, slow, mindful repetition’ and identification, isolation and reconnection techniques. It also involves the use training materials, such as: Edward Lisk’s “Circle of Fourths” studies, Ed Sueta’s “Rhythmic Vocabulary Charts”, Raymond Fussell’s “Ensemble Drill” scale/pitch vocabulary acquisition, Peter Boonshaft’s “Sound Innovation Ensemble Method” series, basic chorale studies, and of course, suitably matched performance repertoire. I find that this method of ensemble training allows for focus on foundational studies, addressing development of tone quality, internal pulse, and the importance of listening, both horizontally and vertically across the ensemble.
 
This approach includes an exploration of the process of systematic rhythm and pitch vocabulary acquisition. It also involves strong emphasis on individual practice strategies, personal motivation, ownership, investment and reward. Therefore, I endeavour to address the ensemble's need for technical development through the performance challenges found in the chosen performance repertoire.
 
In the past I have found it frustrating introducing performance repertoire without first addressing the acquisition of the technical facility required to meet the repertoire’s musical demands. In a sense, it is difficult to perform expressively when one is still struggling with rhythms and pitch, let alone achieving good tone production and intonation. I believe it important that repertoire choice remain inextricably linked to the current ensemble’s technical ability. In fact, training strategies, instructional material, as well as repertoire choice provide excellent vehicles to trial skills and knowledge gained from sequential investment in skill development. Over the years, I have found this rehearsal approach to be highly effective in enabling students towards achieving the unfettered joy of music-making.
 
It would, however be fair to say that as this style of rehearsal approach is a rather new experience for many in the Sinfonietta ensemble. Consequently, there have been concerns with regard to the level of work required both at home and in rehearsal towards developing more effective reading skills and performance applications. Nevertheless, there has also been good feedback from several members, as many also see their need to address basic ensemble reading and technical facility skills. In fact, many are beginning to hear and experience improved performance outcomes in each progressive rehearsal.
 
It is my sincere hope that this rehearsal process I am sharing will continue to have a positive impact on the TYO Sinfonietta Orchestra.
 
Warm regards and best wishes,
 
Monte
 
 
 
to edit.

Wow! It has been a long time since I last posted an article!  And what an amazing rough ride it has been for many of us!  What we return to will be very different from what we left in February.  However, we will ultimately return to our beloved ensembles at some point in time.  

​In a sense this period of enforced separation can also offer up some silver linings in our present dark clouds.  With enforced interruption to our ensemble training just maybe we can do some 're-setting of how we will recover the lost momentum and revisit  the neglected, but essential skill base.

To this end I would like to offer for your consideration the following article on addressing "Common Rehearsal Problem Solving Solutions"...

Here are a few reflections regarding thoughts and recommendations on common rehearsal concerns:
 
1.  How to improve rhythm-reading skills
Assisting your ensembles in obtaining effective rhythm vocabulary acquisition seems to be a common thread from most ensemble directors I have worked with in the past.  However, some of those with whom I have worked have mentioned the Ed Sueta “Rhythm Vocabulary” Charts as a great tool for gaining rhythmic acquisition of mastery and comprehension.  
 
Some ensemble music educators use various strategies and combinations of rhythm-reading strategies, such as providing beginners, as well as advanced players with different levels of rhythmic challenges. After all, the book is only a book of exercises aimed at developing and employing the tool of rhythmic sub-division leading to accurate rhythm reading.  It is how you use the exercises to attain your goals: with imagination and measurable outcomes! Ultimately what. rhythmic skills do you wish for your ensemble to master?  Surely we wish for self-motivation and independence.
 
The main purpose of the rhythm charts is to:

• Introduce students to an effective counting system and the concept of subdivision in solving syncopation challenges.
• Provide for a systematic acquisition of a generic, automatic rhythmic vocabulary.
• Provide samples of various rhythmic combinations with which to apply and transfer the counting/subdivision tools for successful rhythmic acquisition and understanding to performance repertoire.   

I suggest that systematic rhythmic drill be a part of every rehearsal warm-up training session. When you use rhythmic vocabulary exercises, be sure to:

• Introduce a systematic counting system.
• Introduce the concept of .)subdivision (i.e. the measuring of note/rest length with the lowest common denominator
• Help students to see and celebrate the overall reading improvement.
• Use the Book sequentially; Chart 2 follows Chart 1, etc. (demonstrate in the training portion of your rehearsal how to apply the strategies drawn from the generic rhythm exercises in solving rhythmic challenges in their performance repertoires

     I regularly introduce and use this rhythmic resource in almost every rehearsal situation, as the students         with whom  I work generally have limited, or poor sight-reading skills.  

• Poor reading ability is directly related to a limited rhythmic vocabulary and to their lack of a workable counting system or the use of sub-dividing skills.
• It is essential to demonstrate how to apply a recognised counting/subdivision system to each individual exercise.
• Students will generally engage in significant practice outside rehearsals when shown how to obtain successful outcomes and rewarding results.  
• Method books provide for:

1. A framework for a sequential, systematic approach to practicing/learning. (Scope and Sequence)
2. Valuable source of general and generic information.
3. A variety of exercises, utilising information and skills in easily digestible and achievable bites. (8 bar exercises – (‘5 minute’ goals). 

It is my sincere hope that all instrumental teachers will begin to implement a method book in their rehearsal, as method books can form an integral part of  ensemble ‘s rehearsal systematic learning development  and advancement.
 
2.    How to select appropriate performance repertoire
As to selecting ‘appropriate‘ repertoire for a specific ensemble, there are quite a few factors to keep in mind. 
 
The better acquainted you are with the available literature, composers and publishers the more successful you will be in meeting repertoire selection challenge.  To this end I would suggest that you:

• Begin by personally visiting retail stores where possible and spend time familiarising yourself with the repertoire and by speaking with the in-store specialists.  If this is not possible, there are several on-line stores which provide sample scores, and in many cases recording excerpts.  Just keep an open mind, as these stores and the relative sites are more of a advertising exercise than a scholarly approach 
• If the above are not possibilities for music store options are available, you can always make personal contact by phone or email for assistance. 

 
  Please refer to the Repertoire Selection and Score Study Process article, which should assist you in                   informing your selection criteria. 
 
Our repertoire should always be considered a part of our teaching material, providing reinforcement for your training programme, as well as exposing our students to the art of music-making.  For our concert repertoire serves many purposes beyond primary performance. 
 
3.      How to work with unbalanced ensembles
Unbalanced instrumentation within an ensemble often presents some fundamentally difficult issues:

• Repertoire selection: You need to search out what repertoire is available for your current ensemble’s instrumentation. (Consider works with flexible scoring; contact retail music specialists) 
• How can I match my ensemble with the repertoire I wish to use? You need to specifically study the score, identifying aspects allowing for adjustments and substitutions.
• What instruments do I have, and can I/may I write out parts for the available instrumentation for the missing parts? It is important to see if you have sufficient instrumentation to meet the composer’s/score’s requirements. Depending on how much you need to substitute parts or change the scoring, you may have to seek the publisher’s permission. (Be sure to check AMCOS regulations)    
• Dynamic balance.  How do I balance the ensemble with little, or no bass line, or too many instruments in one section and not enough in the others? You may have to be imaginative here. Baritone Sax, Bass Clarinet, EEb Contralto Clarinet, Electric Bass or Keyboard.  In the case of too many instruments in one section, try convincing students to consider easily facilitated instrument changes: Trumpet to Euphonium; Alto Sax to Baritone Sax; Soprano Clarinet to Bass, or Contralto Clarinet; Flute to percussion, etc.
• Instrumentation substitution.  Can I substitute one instrument for another without defacing the composer’s original intent? This is difficult without seeing the score and knowing why the composer chose this instrument.  Sometimes instruments in the same voice can be substituted: Muted trumpet, clarinet, soprano sax or flute for essential oboe parts; tenor sax for euphonium; alto sax for French horn, etc.
• What Instrumentation can I get by with and still preserve the composer’s original intent? Once again, this largely depends on how the scoring is laid out, how important parts can be sufficiently covered by other sections or individual players

 
However, in the end,  answers to these questions only offer short-term solutions.  You can work around each of the above problems, providing a temporary relief for your students with judicial choices, but without ever addressing the “Elephant in the room” of why we need to continually make these instrumentation adjustments.
 
I do not pretend to have the ‘correct’ answers for all of these questions. However, the essential question is, “Why are our ensembles unbalanced?”  In a sense, these questions point to an overall administrative problem and one of attraction and retention.   In the long run, participation in unbalanced ensembles is not particularly rewarding, or educationally viable for the average student.  In fact, it often leads to greater problems, such as rehearsal engagement and overall retention.
 
4.How to effectively work with wide range abilities within an ensemble setting.
We are often faced with the problem of working with students of unequal abilities within an ensemble setting.  Our academic colleagues face this issue too. How can we effectively engage our students when both their skills and knowledge base are often at odds? 
 
  I would like to suggest that we need to think communally with regards to this issue. Let us create a             community of learners that is compatible with our educational philosophy, that includes a ‘student   ownership’ component (students having a personal stake) in our ensembles:
 
   Here are some points to consider:

• Does our ensemble programme require a basic skill level and knowledge base for entrance into, and/or advancement between ensembles?
• What are the basic Student Learning Objectives (SLOs) for each ensemble? (What should students know and be able to demonstrate, having completed a term/semester/year of membership in an ensemble? 
• Generally, senior, or more experienced members will volunteer, or can be appointed to encourage, aid and assist younger, less experienced members when inspired, encouraged or given opportunity to 
• The ensemble (community) is both encouraged and permitted to offer suggestions or solutions to the issue.

  We can also:

• Endeavour to choose repertoire that is mutually beneficial for both advanced and less experienced members, i.e. identify musical, versus technical challenges. Be sure to explain to your ensemble what you are planning to do and why. remember that training and skill acquisition enables suitable, rewarding repertoire choices.
• Introduce a systematic ensemble-training programme to lift the technical skill level of all members, especially for the less experienced ensemble members.
• Share your training strategies with the senior ensemble members and provide them with more advanced challenges contained within the training regime.

 
In Conclusion
 
I believe that our rehearsals should not be perceived as overly ‘concert production’ oriented; Rather they are to be viewed as ‘Show & Tell’ opportunities, serving in part, as a gage of how well our ensemble is assimilating their fundamental skill and knowledge training.  Rehearsal focus can then be directed to developing generic ‘learning-processes’ that leads to musical interpretation. This approach  will, in turn direct students toward taking both responsibility and ownership for their individual learning and problem solving.  This kind of rehearsal focus allows more time for music-making, and much less time and effort spent on technical rote-learning.
 
Rehearsals ought to be places where directors operate as guides and mentors, passionately sharing suggestions and proven strategies: Identifying achievable goals and demonstrating the effectiveness of employing strategies that lead to overcoming performance challenges, including; syncopated rhythms, fingering & bowing combinations, key centres, tone production and intonation issues, harmonic influences, phrasing and expression considerations.  After all, in the end, we are but 'investment counsellors' sharing investment strategies!
 
All the while, our rehearsals should aim to both inspire and empower students to appreciate and enjoy the joy of music making on both a personal and corporate level.  Ultimately this should lead to lifelong engagement with music enjoyment and music making.  It is this kind of environment that promotes an effective pathway to ‘life-long’ learning."
 
 

Welcome back to my final episode on developing and improving personal practice habits and learning skills!

My final instalment is entitled "Informing the practice format - Essential elements in actually living with our practice - Keeping 'practice time' attractive and rewarding"

D. Specialisation – Generalisation practice strategies: How can we keep practice attractive 
 
It is essential that the balance between spending practice time on detailed, technical development, or specific technical/musical challenges in our performance repertoire be offset with time spent on making the necessary expressive performance connections for the overall picture. 
 
It is easy to either spend too much time just playing through our repertoire, or to become too bogged down by inordinate time spent on specific technical details. “We can’t see the forest for the trees”, or “we can’t see the individual trees because our focus is on the forest”. 
 
Either scenario keeps us from experiencing healthy, rewarding progress to rewarding musical outcomes.  It is important therefore that we search for opportunities allowing for us to consolidate our progress through either informal or formal performance opportunities. (friends, family, informal occasions, etc.)
 
Some practical considerations towards transforming the act of practice from 'duty' to relative 'pleasure':

1. As peak concentration generally occurs during the first ten to twenty minutes of practice, be sure to utilise your warm-up and technical A & B studies to support your solo and ensemble repertoire studies for today’s focus.
2. Make time to listen to a variety of professionally recorded performances of your repertoire, following the score as you listen. This is particularly helpful before you begin to attempt to play the music yourself.  
3. When starting work on your etudes, and, or solo/ensemble repertoire, it is not necessary to begin every practice session from the beginning of the work under study. Instead, your study can begin on the more challenging sections before attempting a general read through: save that for later.
4. It is best to begin by identifying and addressing the fundamental technical challenges first. The most sensitive musical interpretation will ultimately fail if we cannot play with  precise articulations, accurate rhythm vocabulary, in time, in tune, and with a beautiful, expressive tone.  For approaching difficult and fast passages, be sure to play slowly at first, gradually increasing tempo. The metronome will  be your best practice partner: be sure to use the ‘sub-dividing’ strategy for complex syncopation and long, sustained passages.  Remember: You must learn the work before you can begin to practice it. It is just possible that not enough work/study has been allocated to general technical development on the challenge under question... 
5. Try inventing “mini exercises/studies” derived from the repertoire passages under study to assist you in overcoming the technical or expressive problems you encounter and consider employing the “three times rule”: After learning a challenging passage, play it at least three times in a row without errors.  But once again, remember that you must first learn the passage before you can begin to perfect it. The more times you can play through the passage without errors, the more likely you are to have locked it into your subconscious muscle memory.  You may have to repeat this process over a period of days.  No matter; keep at it, for persistence is the key to attaining lasting, successful outcomes. Just remember to approach difficult passages no faster than you can play them correctly. And finally, we often choose not to play a passage slow enough for a long enough time to achieve perfection: Be patient!
6. Next, decide how you want the piece of music to sound and how you can make it uniquely your own interpretation. Try experimenting with alternate fingerings/alternate slide positions, various tone colours, nuance, inflection and breathing considerations and phrase structures.  These can greatly assist you in accomplishing your expressive performance goals.
7. Missing two or three practice days in a row, with the idea that you can “make up the time” with marathon sessions over the next few days is a fallacy.  Effective practicing needs to employ a consistent, daily, systematic and sequential process to achieve confidence and mastery. And by the way, one of the best times of the week to practice is shortly after your lesson!  On that day your teacher’s suggestions will be fresh in your mind.  

In conclusion: Don’t be overly discouraged when you experience difficult practice days, days of progress drought, or even a disappointing practice week!  After all, it is a normal occurrence and frustrations can often lead to thinking in new ways and using the challenges to grow our skills.  Consistent investment in a well-planned practice regimen will, over time, reward you with steady progression.  
 
It is also important to understand that the effective learning habits being formed, developed and reinforced through the process of systematic practice should be considered ‘transferable’ to many learning applications and will remain with you for the rest of your life.

It is my hope that these past three instalments investigating the nature and process of successful and rewarding individual practice will lead to fresh inspiration for both music teachers and students alike.  Thank you for taking time to read my musings and suggestions on the The Art of Practice “Perfect Practice makes Perfect…maybe”

Warm regards, and best wishes for your musical journey

Monte
 

Welcome back to my discussion on developing and improving personal practice habits and skills!

Following on from my last post in which I discussed my philosophy behind developing a more effective and rewarding  practice routine, I now want to share the actual nuts and bolts of how one can actually maximise their practice sessions through examining specific, proven practice strategies. 

C.  Improving our actual practice approach:  Making each session count!

1.   Identify/Isolate/Reconnect
One of the most effective ways to approach a work is to first identify the challenging passages. Next,  isolate those sections, working through them slowly and then putting them back into the context of the work when sufficient accuracy is achieved. Do not reinforce mistakes by repeating them, but stop and identify what the specific problem or challenge is. Now, determine how you will fix it. Your teacher’s shared strategies will be of great assistance in this exercise. 

2.   Learn to identify trouble points through the comparative listening approach.
At times, it may be useful to record yourself (audio or video) to identify specific trouble spots. If you are having difficulty with a particular passage, it often helps to play through the section very slowly, experimenting with  a variety of articulations, rhythmic sub-divisions and intervalic variations. Try alternative finger combinations/slide positions. If it is a rhythmic problem then try counting (sub-dividing) and fingering (slide shift) or buzzing through the passage.  Do not play the passage any faster than you can play through it correctly! Slow practice is best when addressing individual trouble spots. This strategy will aid in automating your approach to the passage.
 
                            The Comparative Listening  Process - 
I have an aural model of what is to be recreated, either from my teacher, musical director or another source, such as a professional recording, or live performance.  I try to re-create the model.  Following my 1st attempt, I now compare my performance against the model: I make the necessary adjustments, (teacher suggestions) and try again.  I repeat this process until I achieve a close approximation of the model.
 
3.   Be patient! 
Begin by playing through the problem passage very slowly, if need be, one note at a time, until you are playing the rhythms, fingerings, articulations and pitches correctly.  Once accuracy has been achieved, then repeat that section at least 3 times. Now, gradually increase the tempo until the passage is up to speed. Remember; it is essential to begin the passage at a slow tempo and gradually increase your speed while playing the passage correctly rather than attempting to play an entire piece at performance speed, making numerous errors. Remember: We don’t generally play difficult passages slow enough for long enough periods.
 
4.   Trial expressive interpretation possibilities.
Once the passage has been mastered you can then begin to focus on expressing yourself through the passage/work instead of being limited to playing the correct note at the right time.   Musicality can be defined through demonstrating the ability to interpret a piece with emotional connection through identifiable phrases and cadence points, with shape, contour and nuance. These decisions are generally informed through harmonic “Departure/Arrival”. This is what distinguishes an outstanding performance from that of a predictable one.
 
5.   We all need inspiration. 
First, follow the printed directions such as dynamics, style of playing, and the tempo, or speed at which the music should be played.  But remember; these are only ‘instructions’ that are actually derived from the underlying harmonic chord progression and the unique interplay between harmony, rhythm and melody.  It is best to ask ‘why the instructions are there in the first place.’ To what are the instructions pointing and leading us to actually do at the moment. Can the interpretation be different tomorrow?  
 
You can gain additional interpretive insight and inspiration through listening to fine recordings of the same piece performed by various artists and attending to their individual interpretations.  You can also gain excellent insight by researching the history of the composer and the era in which the music was composed.

6.   Be prepared to experiment!
Be sure to try out different phrasing/breathing/fingerings/alternative slide positions. Also explore variations in tone production, articulations, style, and intensity. Memorising a piece may assist you in achieving more freedom of expression. Once you know a piece so well that you are "free" from the technical demands, you may find it easier to interpret music on your own.
 
7.   Productive Review Process
At the end of each practice session, try playing straight through the piece, enjoying your successes and consolidating your gains. The progress made during addressing ‘problem spot’ practicing can be reinforced and locked in.  And, you will also feel a sense of accomplishment, hearing the improvements you have made in the full context of the work. “Perfect practice makes perfect".  All it takes is commitment, persistence, patience, consistency and concentration. We can then begin to enjoy the fruits of rewarding, productive practice – real musical investment.
 
8.   Come Prepared 
Be sure that you have all of your materials handy and organised, including music, tuner, pencil, metronome and any other items you plan to incorporate into your practice. Use your pencil to note fingerings, phrasing, breathing points and any other pertinent information. A serviceable music stand is essential and always employ the best posture and hand position, whether sitting or standing.
 
As to the materials ...

• Breath control tools
• Buzzing aides 
• A book of warm-up studies consisting of series of systematic long tone, lip slurs and agility and range-building studies over a wide compass
• A rhythm vocabulary builder/primer
• A comprehensive scales and arpeggios collection
• A few method books containing technical exercises and etudes, studies that provide for various combinations of meters, rhythmic syncopation challenges, clef/transposition studies, alternative fingerings/slide positions, articulations, phrasing and styles. 
• A few of method books consisting of several melodic/vocalise studies, across all keys. These are helpful in building expressive phrasing, contour, shape and nuance interpretation as it relates to the implied harmonic progressions.
• Sight-reading
• Solo Repertoire
• Ensemble repertoire
• Orchestral excerpts

 
9.   Be sure to divide your practice segments equitably. 
Consider using a mix of scales, etudes, and repertoire selections (concertos, sonatas, orchestral music, etc. However, you may not have time to work on every element in every practice session, plan according to your time limitations.

Consider building your practice sessions around the following five categories
         a.  Warm-up routine - be sure to vary this every day

• Lip buzz exercises & long tone, intonation studies,
• lip slurs, lip trills (brass)
• lip