A Saturday Afternoon Recital
Organ, Piano and Sackbut

​Presented by
Lynda Nicholls and Monte Mumford
With guests, Andrew Polden and Stephen King
         
Music of the 17th and 18th Centuries in works by

Marcello, Handel, Corelli, Cesare and Bach

Pilgrim Uniting Church
Saturday, March 24th –3:00 PM

The Melbourne Youth Orchestra Teacher Professional Development Programme is designed to support growth and improvement in the professional knowledge and practice of ensemble music education for Victorian teachers of music.

In this Course, learn to expand your knowledge of orchestral instruments so that you can confidently identify and solve instrument-specific issues affecting your ensemble's performance.

​With guidance from esteemed music educator Monte Mumford, learn to focus on improving ensemble performance through developing a detailed knowledge of individual ensemble instruments and instrument families in order to recognise and remedy common issues.

You will gain effective strategies which include a set of detailed visual and aural “templates” for instruments other than your own. You will also learn how to use these templates to help your students improve their ensemble sound.

Course date: 17 October through 4 November 2017 (3 Weeks)
Location: Online and School of Music, Victorian College of the Arts, The University of Melbourne


http://myo.org.au/ensemble-instruments-up-close/​    

​Fee: $150
Educator: Monte Mumford
Course Duration: 10 Hours (minimum)

Melbourne Youth Orchestra's Teacher Professional Development Programme is designed to both promote and support growth and improvement in the professional knowledge and practice of instrumental ensemble music education for Victorian Music Educators. 

​Through our five online courses you can learn to confidently develop and deliver inspirational instrumental music ensemble programmes.

With guidance from esteemed music educator Monte Mumford, discover ways to identify and rectify common ensemble problems associated with each instrument group, learn more about selecting appropriate repertoire, rehearsing effectively and conducting with greater confidence .

Fundamentals of Effective Ensembles provides a great opportunity for both intermediate and advanced ensemble directors to review and refresh their approach to ensemble direction.  The course can also serve as an introduction for those new to ensemble direction.  Through this course, we examine the key elements of individual instrument knowledge, the use of rehearsal planning and time management leading to more effective and productive rehearsals, the process of choosing appropriate repertoire for study and performance, and opportunities to develop a broader range of conducting skills and communication in rehearsal. 

Course Details:

Course Dates: 28 August 2017 – 16 September (3 Weeks)

Location: Online and School of Music, Melbourne Conservatorium of Music, Southbank Campus, The University of Melbourne
Fee: $150

​Educator: Monte Mumford
Course Duration: 10 Hours (minimum)
​
http://myo.org.au/fundamentals-of-effective-ensembles/ 

The choosing of educationally and artistically appropriate repertoire for our ensembles can, at times seem a difficult and daunting task.  I offer for your consideration the following points when selecting your repertoire.  Work toward choosing works that will:
​

1. Provide ample opportunities for the nurturing of musical creativity, expression and inspiration and lie within the technical capabilities of your ensemble.  
2. Provide for the necessary connections that allow for the transferal of both technical facility and musical concepts introduced and developed in the warm-up and training portion of your rehearsals.  
3. Provide for the ‘all-important’ motivation, which should lead our ensembles toward the perfecting of manual dexterity, rhythmic vocabulary, articulations and expressive interpretation.  
4. Provide possibilities for exploring the wide range of human emotion through the exposure to and engagement with significant art music. 
5. Provide opportunities for your ensemble to experience a balanced range of works that includes: original, serious 20th & 21st century compositions; faithful transcriptions, or arrangements of significant works and composers that retain the composer's original intent, and finally include well-crafted works drawn from the popular/contemporary genre.

 
And for further thought:
 
All of our repertoire choices generally pass through the following filters:

• Our personal aesthetic criterion
• Our personal tastes
• Our musical & extra-musical values, including our overall music education philosophy

 
Therefore, it is important to regularly examine our own understanding of what constitutes quality, significant music, and to commit ourselves to maintaining our listening through consistent exposure to significant musical performances.

Is your Ensemble watching you? Why should they bother…? One of the most frustrating, challenging and rewarding aspects of conducting young ensembles is the realisation that our students actually do not need for us to be their time keepers.  So what are they looking for?
 
As conductors we often feel that our students need us to conduct strict time patterns, believing that they will become lost and disoriented without them.  Nevertheless, it is important to remember that they are, or should be the time keepers; we are, or should be the time givers. As the conductor, we are responsible for both the choosing and delivering of tempi.  It is the ensemble’s responsibility to keep the time until we wish to adjust it for interpretative reasons.  If you are finding yourself endlessly asking your ensemble to watch you, it may be that simply keeping time for them is insufficient to engage their curiosity and interest.  If they are capable of keeping time without our help then we need to offer a more creative approach to conducting which will attract, engage and hold their attention.
 
If you want to go beyond conducting time patterns and communicate a more expressive interpretation, here are five tips to consider:

1. The very nature and shape of the three basic patterns (and other asymmetric configurations) are actually designed to convey aural and visual shapes within the context of meter.  All we need do is to work on moulding our standard patterns into shapes that look like, and reflect the style and character of the music we are performing.  The best place for finding expressive gesture inspiration is to watch proven conductors effectively employ music shapes that produce emotionally charged, exciting, significant performances.
   
   
2. It is important that we regularly engage in active music listening, and watch a variety of live, or recorded music performances. We can then begin to experience, like children how to move, or look like the music. Do not be afraid to experiment… while in your listening/watching mode!
   
   
3. Provide rehearsal time for your ensemble to play chorales, ensemble etudes, rhythm exercises or passages from your performance repertoire ‘un-conducted’.  It is a brilliant way to pass music-making ownership and responsibility on to your students.  It also develops ensemble listening skills like no other exercise.  In fact, it proves that they can be more in-charge of music-making then they ever believed possible.  And, it frees you from the need to ‘keep time’, allowing you to focus on the business of inspirational musical direction and leadership!  I seldom conduct the first 20 minutes of my rehearsals. This portion usually consists of Ed Lisk’s “Alternative Rehearsal Techniques of the Circle of 4ths”, scale/arpeggio exercises, rhythm vocabulary studies, ensemble etude exercises, and finally, chorales: all un-conducted!
   
   
4. Video record your rehearsals.  This is an incredibly powerful tool, not only for considered reflection on your rehearsal technique, but also for observing on how well you effectively communicate your musical interpretations. I suppose my favourite question to myself when observing my rehearsal videos is, ”would I enjoy and be inspired by my musical body language and visual communication skills”? 
   
   
5. Finally, reach down into your personal musicianship and take a step of faith by asking ‘what does the music itself demand of me, and how can I best communicate my beliefs to my ensemble? What is more necessary; the projecting of time or expressive phrasing, and is it possible to creatively convey both?  Even beginner ensembles can be taught to play perfectly in time without our help by simply breathing in the time and listening to each other, while we occupy ourselves with the more important issue of phrasing, shaping and inflection.

Our course is designed to take your ensemble conducting skills to the next level. With guidance from esteemed music educator Monte Mumford, learn how to further develop your ensemble conducting technique through both theoretical and physical practice strategies.
Effectively communicate emotion and interpretation through gesture, enabling you to foster greater engagement and elicit a musical response from ensembles of all ages and levels.
Details:
EXTENDED CONDUCTING TECHNIQUE
Course Dates: 17 July 2017 – 5 August 2017 (3 Weeks)
Where: Online and School of Music, Victorian College of the Arts, The University of Melbourne
Fee: $150
Educator: Monte Mumford
Course Duration: 10 Hours (minimum)

Apply Here 

Time Commitment
During the course, seven hours of study are undertaken flexibly online within the specified dates. The course culminates in a three hour in-person session on the final day with fellow participants and the course educator at the Victorian College of the Arts, University of Melbourne. See Melbourne Youth Orchestras’ renowned Ensemble Program in action and consolidate your learning with the course educator. Lunch is provided.
Course Content
The course will include the following topics:

• Refresh and revisit basic conducting techniques, principles and approach
• Explore different methodologies and philosophies of conducting, such as the Saito and Laban approaches to conducting
• Develop conducting techniques that portray emotion, phrasing and nuance through hand and body movement, as well as effective non-verbal gesture delivery 
• Develop practice strategies to use at home and how to apply them in rehearsal

Outcomes
You will be able to:

• Prepare for your rehearsal through effective score study and systematic rehearsal preparation
• Build upon your current skill level, while incorporating new ideas into your ensemble direction
• Get your head out of the score, and move beyond keeping time
• Transfer and apply conducting theory and technique into your real-life rehearsal

Suitable for:
Victorian Music educators currently teaching in the field, or for instructors and teachers who work with musical ensembles. Applicants should be able to read music scores, develop rehearsal plans and demonstrate basic conducting techniques. Previous ensemble conducting/ leading experience is beneficial, but not essential. It is advantageous for participants to have completed the MYO Teacher Professional Development Program ‘Fundamentals of Effective Ensembles’ Course prior to the commencement of this course, although it is not compulsory. To ensure that this course is suitable for you, interested new participants will be asked additional questions regarding their current knowledge in ensemble pedagogy through the online application.

Melbourne Youth Orchestra's Professional Development Programme is designed to support growth and improvement in the professional knowledge and practice of ensemble music education for Victorian teachers of music.

In this course you can learn to confidently select repertoire for your ensemble that will both inspire and challenge your students.

With guidance from esteemed music educator Monte Mumford, you can learn to select repertoire that will enable you and your ensemble programme to more effectively achieve your musical and educational goals and outcomes.

You can also learn how to create a long term plan for building and maintaining an effective, efficient music library.

Course Details:
Course Dates: 15 May 2017 – 3 June 2017 (3 Weeks)

Location: Online and School of Music, Victorian College of the Arts, The University of Melbourne

Fee: $150

Educator: Monte Mumford

Course Duration: 10 Hours (minimum)

Time Commitment:
During the course, seven hours of study are undertaken flexibly online within the specified dates. The course culminates in a three hour in-person session on the final day with fellow participants and the course educator at the Victorian College of the Arts, University of Melbourne. See Melbourne Youth Orchestras’ renowned Ensemble Program in action and consolidate your learning with the course educator. Lunch is provided.

Course Content:
The course will include the following topics:

• Connecting your education philosophy and personal experience to your choice of repertoire
• The art of choosing repertoire – an analysis of both educational and musical aspects when considering your selection
• Building and maintaining a library – considering all facets including finance, long-term planning, relevant music and legalities
• Troubleshooting a variety of situations and challenges when using your repertoire

Outcomes:
You will be able to:

• Analyse and assess repertoire to fit your ensemble’s educational and artistic needs
• Understand and execute effective score analysis and associated study methods
• Choose appropriate repertoire and learn to formulate effective concert programming
• Effectively build a library with a long shelf-life reflecting your designated budget and appropriate educational goals

Suitable for:
Victorian Music educators currently teaching in the field, or for instructors and teachers who work with musical ensembles. Applicants should be able to read music scores, develop rehearsal plans and demonstrate basic conducting techniques. Previous ensemble conducting/ leading experience is beneficial, but not essential. It is advantageous for participants to have completed the MYO Teacher Professional Development Program ‘Fundamentals of Effective Ensembles’ Course prior to the commencement of this course, although it is not compulsory. To ensure that this course is suitable for you, interested new participants will be asked additional questions regarding their current knowledge in ensemble pedagogy through the online application.

For further details please follow this link - http://myo.org.au/repertoire-with-a-purpose/

Melbourne Youth Orchestra's Professional Development Programme is designed to support growth and improvement in the professional knowledge and practice of ensemble music education for Victorian teachers of music.

This forth coming course on Rehearsal Techniques will enable you to both engage and inspire your students through well-planned, productive and rewarding rehearsals.

With guidance from esteemed music educator Monte Mumford, you will gain a deeper understanding of effective rehearsal techniques, and how to implement them. You will learn how to record and evaluate your ensemble’s progress and achievements. You will also learn how to use your precious rehearsal time effectively through developing systematic rehearsal plans that focus on significant, achievable, student learning outcomes.

During the course, seven hours of study are undertaken flexibly online within the specified dates. The course culminates in a three hour in-person session on the final day with fellow participants and the course educator at the Victorian College of the Arts, University of Melbourne. See Melbourne Youth Orchestras’ renowned Ensemble Program in action and consolidate your learning with the course educator. Lunch is provided.

Course Content
The course will include the following topics:

• Developing your intended learning outcomes.
• Using rehearsal activities to achieve educational objectives.
• Structuring your rehearsal for maximum rehearsal effectiveness.
• Recording and evaluating your success with a view to improvement.
• Inspiring your students to stay engaged beyond your rehearsals.​

Outcomes
You will be able to:

• Identify students’ needs and aspirations and design your teaching strategies toward empowering student ownership and self-motivated learning.
• Employ proven and effective teaching strategies, ensemble activities and rehearsal techniques.
• Manage your time effectively through systematic, goal-oriented rehearsal plans.
• Keep your students engaged and involved.
• Record, measure, evaluate and improve your ensemble’s progress and achievements, as well as your own.

Course Details:

Date: 18 April 2017 – 6 May 2017 (3 Weeks)
Where: Online and School of Music, Victorian College of the Arts, The University of Melbourne
Fee: $150
Educator: Monte Mumford
Course Duration: 10 Hours (minimum)

To enrol for the Course simply click on the link below:

http://myo.org.au/effective-rehearsal-strategies/
​ 

Last April (2016) I posted an article which dealt with the importance of active and engaged listening, and its special relationship to conducting.  I have finally found the time and energy to finish the article as promised. However, much has happened to expand my thinking since I posted my original thoughts, which includes the intense mental journey I have taken in the completion of the final three Professional Development courses of the Melbourne Youth Orchestra's Professional Development Programme for Instrument Music Educators. With this in mind, I now submit the complete article for your consideration...

Often in the effort to improve our conducting skills, there comes the temptation to expend an inordinate amount of time and energy focusing on addressing the physical skills of controlling time-keeping and the development of expressive gestures, as if technical mastery of time and gestural actions should form the basis of the definitive act of conducting. (Looking like the music)
 
However, it has also been countered that the true definition of conducting is in reality a listening activity, from which the physical act of conducting derives its true inspiration. (Looking like the music, through your inner ear) In fact, informed, active, engaged listening should always be considered the major contributor in achieving successful, effective and musically satisfying proficiency as a conductor. The importance of focused, informed, and attentive listening is essential in at least two different ways:  One, the act of hearing the score and its potential interpretation, while the music still remains on the page; and two, the ability to hear the score while it is literally coming off the page. It is these two considerations, which I would like to examine in this article.
 
The first listening consideration has been addressed many times, and from many different angles. Most of us would agree that it is important that one endeavours to aim towards training themselves in effectively hearing the score, as yet unsounded on the page.  But, achieving this skill often leaves one frustrated, especially if the conductor’s piano skills are of a limited nature. A helpful analogy here is to remember that hearing a score in silence is much like using the skill of reading books silently to oneself.  How did we, as children move from reading aloud to the internalising of our reading skills?
 
The explanation is not difficult.  Obtaining effective reading and comprehension expertise in music reading requires the same mindful, or comparative repetition of basic reading comprehension skills, such as the mastery achieved through the application of vocabulary acquisition, spelling, pronunciation, and correct grammar usage.  Effective reading also requires consistent exposure to reading, including listening to someone read. It also includes aural modelling of pronunciations and the correction of definitions, and spelling errors.  It is important to understand that none of these learning activities were fast-tracked.  In fact, these activities required a careful, repetitive ‘time-on-task’ framework for achieving the mastery of silent reading over a period of time.
 
Learning to read/hear music in silence requires a systematic immersion in basic ear training and aural recognition.  These are essential skills that enable one to understand both the vertical and horizontal elements of music notation.   It is one’s technical proficiency in rhythmic notation reading, gained through internal pulse, counting and subdivision, along with the capacity to hear basic harmonic progressions, identify and sing intervallic relationships,  identify chord qualities and melody lines, combined with the ability to see phrase structures through note-grouping relationships that facilitates mastery.   These are the essential tools that will enable one to silently read/hear the score as intended.  Another important factor in obtaining effective silent score reading skills is to be found in strengthening one’s visual and aural skills through sight singing, as well as the exercise of engaging in personal music performance experiences on their principal instrument.
 
The second listening consideration is a bit more problematic, for it requires the conductor to hear, respond and adjust the music as it is literally coming off the page; all at the same time. This skill is of vital importance for achieving significant musical outcomes through effective rehearsal communication.  The process is dependent on three factors: seeing and hearing the music as it is being performed, intuitively knowing what the composer had in mind through systematic score study, and holding a personal interpretative understanding of what one desires to hear and wishes to change, thus enabling the ensemble to realise the conductor’s interpretation.  This process, of course requires that one already holds a firm belief in their interpretation of the passage, or work under consideration, knowing how they wish it to be performed, and has confidence in their rehearsal strategies, including appropriate gestures, metaphors and/or analogies. 
 
Inspirational musical leadership requires one to communicate the composer’s innate intension through understanding the emotional narrative and related connections with conviction, passion and confidence.  This includes understanding the historical, cultural, emotional and stylistic context of the music, along with its attendant set of descriptive, expressive instructions.   For instance, why is a particular passage marked ‘forte’, or why is another passage marked, ‘allargando’? To fully understand expressive directions one must also appreciate the musical context in which they appear.  The music itself is always pleading with us to listen to how it wishes to be performed, and these ‘directions’ are merely reminders of what the composer intended.   I believe that it is imperative that physical gestures and body language be derived from deeply held convictions and understanding about the ‘character’ of the music, and how the notes and rhythms should be performed in view of communicating this ‘character’. It is difficult for conductors to expect their ensembles to respond meaningfully to their gestures if the conductor does not hold a personal commitment to an authentic interpretation, character and context.
 
Therefore, this second kind of listening calls for our regular exposure to a wide range of significant music performances that feature virtuosic artistry, mastery, conviction and passion. It is vitally important to understand the correlation between regularly listening to a wide range of musical performances while appreciating their role in assisting one in forming opinions of what constitutes significant music-making in general.  This kind of listening can also provide opportunity and inspiration for the expansion of one’s emotive vocabulary of physical gestures and facial expression.  Truly effective musical communication requires empathy, understanding, emotional connection and deeply held beliefs about music performance, which can only be obtained through one’s personal exposure to great music and music-making on a regular basis.   The benefits of listening and viewing of significant music performance cannot be underestimated, for it is an essential ingredient in developing one’s inner ear towards the purpose of stimulating personal interpretation, as well as providing models of expressive definitions, which may include:  

• tempi considerations,
• dynamic contrasts,
• articulations & inflections,
• note grouping considerations,
• phrase shape,
• melodic/harmonic contour
• tone colour /timbre

 
Conducting is certainly more than just knowing what is happening in the score, such as conveying a set of literal instructions; time, key signatures, tempi indications, meter, dynamic symbols, articulation markings, volume adjustment, fermata considerations, cues, etc. It is also about acquiring an informed opinion, and a conviction about the repertoire one is to rehearse/perform, while knowing how to effectively communicate their personal interpretation of the repertoire to their ensemble.  A commitment to engage on a regular basis to listening and watching of significant musical performances will go far in both feeding and inspiring our musical souls.

                                              Launceston City 'Pipe Organ Organ' Crawl 
                                
                              With a hint of Trombone!
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                               Saturday April 8th.2017

                                                                      LAUNCESTON, TASMANIA
                 

     The Church of the Apostles - 10:00 AM Margaret Street

     Pilgrim Uniting Church - 11:45 AM Paterson Street

     City Church Baptist - 2:00 PM Frederick Street

    St. Johns Anglican Church - 3:30 PM St. John Street  

                                                                                                            
                                       Organ and Piano - Lynda Nicholls
                                          Trombone - Monte Mumford


Lynda and I would be honoured if you would join us in a wonderful day of music-making on these marvellous instruments and in these wonderful venues.

We hope to see you there! 


 Admission - $10.00   Accompanied children are free