In my last installment of planning for educationally focused rehearsals, I examined the philosophy and related benefits of effective rehearsal planning. I would like to continue this week by considering specific learning strategies and how they can assist us in developing both academically accountable and rewarding learning experiences through musical performance. 

Effective rehearsal planning should aim to create an environment in which students grow in their present performance ability and musical understanding towards increased automated technique facility and more independently motivated musical expression. We as conductors will need to effectively assess our student’s current musical understanding, ‘skill level’ and ‘knowledge base’.  We will need to improve our skill in interpreting the visual and aural cues that increases our ability assess their present understanding and performance ability.  To this end we need to assist students in determining their present technical skills, musical comprehension and expressive abilities.  Therefore, we will need to utilise strategies that enable students to both identify and address the technical and musical challenges contained in our performance repertoire.

To aid in increasing visual and aural recognition skills, conductors need to develop, employ and share with their students a clear set of evaluative visual and aural templates. A template can be defined as a correct skill, response, knowledge base or objective that is superimposed over a response which is observed as incorrect or out of alignment in order to identify and use the proper strategy necessary to improve the performance target.  A reasonable use of ‘attention to detail’ provides opportunity for a systematic employment of rehearsal templates.  Conductors will need to encourage and engage their ensemble’s ‘listening and observation skills’ towards specific targets throughout the rehearsal. This, in turn will assist students in acquiring their own set templates that they can apply towards their own individual performance. This will also aid in the students’ acquiring the ability to specifically identify and respond to both the technical and musical elements in music, assisting personal musical growth and development.  

 So, for what specific sorts of things should conductors and students be listening and looking?  Here is a suggested list for your consideration: 

•  Are ensemble members, both mentally and physically engaged in the rehearsal? (Posture can often provide an effective visual gage of active engagement. And, is consistent rehearsal attendance and being on time an issue?)

•  Is the ensemble/individual producing an acceptable characteristic sound i.e. tone quality, balance and intonation? How is this being addressed and achieved?

•  Is the act of achieving good intonation a question of 'sharp or flat', or of matching and adjusting?  What are the strategies/remedies for addressing and improving section, and individual intonation?

•  How does the ensemble exit or enter silence?  How effective are the conducting entrance and release gestures?

•  Are accurate articulations a part of the interpretive process, or 'technically' inspired?

•  Staccato, accento, marcato, tenuto, legato.  Is there a clear aural image for each of these articulations as derived from the musical context?  Remember: the performance of correct articulations is not optional, however this remains constantly variable as dictated by the musical context.

•  Correct pitches; are they centred and well rounded?

•  Is there consistent rhythmic vertical alignment within the phrase structure?

•  Is there clear evidence of expressive phrase shaping as dictated by the musical line, harmonic context and contour achieved through energised long notes and imaginative accompaniment?

•  Is the ensemble simply following the ‘notational instructions’ or responding to the musical intension itself?

Musical concepts are often difficult to convey.  It is important therefore that we are able to clearly define and explain our intent with relevant applications to the musical context. One of the most important and effective teaching tools can be found in the use of metaphors, analogies and narrative (illustrations and stories) to assist students in making the appropriate connections. The conductor should strive to increase their store of these revelant, valuable teaching aids.

 Conductors should be committed to continue personal growth as an informed, observant and passionate listener, both using and promoting visual and aural observation. 

•  Aim to become more aware of what is really happening within the ensemble through increasing the powers of visual and aural observation.  First, be sure to get your head out of the score and your attention off your conducting.  Secondly, be sure to always use a rehearsal plan, outlining your goals and specific points for attention for each and every rehearsal. 

•  Try sharing your rehearsal plans through weekly email communication, or at minimum on a whiteboard. Know your scores in relationship to the ensemble’s technical strengths and weaknesses and choose reading and performance repertoire accordingly.

•  Conductors must become self-sufficient, developing their own teaching/learning pedagogical strategies.  But it is also true that they should also observe and research rehearsal techniques for expanding their own strategies. 

•  It is the conductor’s responsibility to recognise and reinforce the ensemble’s strengths, which in turn will aid in addressing their weaknesses.

•  Conductors need to visually project through their rehearsals what it is they wish to create, shape and instill in their individual ensemble members. Do we as conductors ‘look like the music’? Would we rather ‘show’, or ‘tell’ the ensemble what the music requires?  

Rehearsal points for consideration ought to include:

•  The use of strategies for reinforcing and improving tone quality, timbre and intonation.

•  Strategies, training material and suitable repertoire the provide opportunities for acquiring and developing independent internal pulse, meter, and increasing rhythm vocabulary. 

•  Developing a passion for correct pitches, beautiful, centred intonation, harmonic sensitivity, aural/sight cognition and rhythmic accuracy. 

•  The desire to train our ensembles to hear, recognise and effectively perform what they see before them.

•  Strategies for developing key/tonal relationship awareness, including the connection with practical application of scale, chord and arpeggio skills to the performance repertoire.

•  Attention to finger patterns; automisation of manual skill dexterity acquired through utilising the skill of methodical, ‘mindful’ repetition.

•  The development of musical intuition, nuance and agility towards superior expression.

•  The need for creating phrase contour and shape in relation to the harmonic context.

•  Conveying the importance of articulation and inflection and its impact on interpretation.

•  Exploration of expression that is achieved through dynamic contrast.

•  The need to create harmonic balance with tonal blend.

•  The importance of personal musical intuition and sensitivity.

•  Encouraging personal conviction and ownership of the music through the process of sharing leadership responsibilities.

I know that I had alluded to the fact that this installment was to be the final episode.  However, I need to frame a fitting conclusion, so you will have to wait one more week!  

Warm regards and best wishes for your final few weeks of term and great closing performances!

Monte

Students often don’t know what they don’t know.  Practical music performance practise at times can be contradictory and confusing.  As we discussed last week, part of the role of the conductor should be to assist their students, through their rehearsal technique in the discovery of what they do not know and offering strategies on how to go about remedying that imbalance.  If we wish to become more than band correctors we need to be able to offer learning strategies that go beyond simply identifying errors towards offering strategies on how to correct, improve and perfect the technical and musical issues which need to be addressed.   Despite confidence, knowledge and enthusiasm, supported with a belief in the importance of a music ensemble’s educational validity, the conductor cannot continue to spoon-feed their students.  Conductors must be prepared to lead students towards independant thinking, learning, interpreting, planning and evaluating. Therefore, successful rehearsal structure will require careful, effective planning that includes opportunities for the sharing of both learning and leadership responsibilities. In fact, every rehearsal needs to begin with a plan that includes a list of identifiable and achievable targets. The plan will also contain a set of clear directions, which are formed with deliberate forethought and supported with knowledge, conviction, experience and authority.

“If you don’t know where you are going, any road will take you there.” George Harrison

In planning rehearsals it is important to focus on the specific desired ‘ideal’ outcomes.  What should the ensemble understand in regards to the historical and analytical aspects of the works to be rehearsed; what should the ensemble sound like?  What should the music sound like and finally, what proven rehearsal methods will assist our students in reaching the rehearsal goals? Above all, what will constitute an acceptable performance of the works being prepared?  Do our students recognise the hallmarks of a fine performance, and are they in possession of the criteria we apply informing us of their achievement of an acceptable performance? To this end we should endeavor to ensure that we have prepared our students to be able to make critical, artistic assessments and decisions with regards to our performances.

What particular elements then should a rehearsal plan contain?  The plan should begin with a timeline with the specific learning activities factored in.  The plan should include an ensemble ‘warm up’ routine that goes beyond simply tuning individuals and sections.  It ought to include vertical harmonic, chordal tuning/balance/blend and internal pulse development exercises such as found in Ed Lisk’s “Alternative Rehearsal Techniques”.  The use of rhythmic exercises, such as Ed Sueta’s “Rhythm Vocabulary Charts” should assist in developing the process of counting and subdivision in obtaining an ever expanding rhythmic vocabulary. It should also include the systematic, fundamental studies found in our band method book. It should certainly include opportunities for exploring the importance of the vertical and horizontal harmonic narrative such as found in Erickson’s “66 Festive and Famous Chorales”.  

The plan should then continue with the application of the specific learning strategies gained through the use of the training  material toward perfecting sections of the performance repertoire. This will include the dissection and reassembly of difficult technical passages for either specific sections or large ensemble continuity. The plan will also provide opportunity for further expansion on interpretational issues and sight reading opportunities.  

Nevertheless, it is easy for rehearsals to loose focus with attention to unnecessary detail. To keep the rehearsal pace moving forward one will need to know exactly what they are trying to achieve today with forethought for the next rehearsal’s goals. However, it is important to also recognise when an ensemble has been pushed beyond their ability to remain focused.  Remember to be sensitive in reading ‘body’ language and learn to listen and watch for the visible and aural cues, which reveal ensemble disengagement, frustration and loss of focus.  Human relationships and musical destinations are inextricably linked in ensemble music making.   It is important that the conductor aims to be positive in their critical assessment, while remaining realistic and encouraging in their demands of the musical outcomes through maintaining respectful interpersonal relationships.  

Still, one need not sacrifice their overall commitment to excellence and learning. Students in school and community ensembles also have their own set of learning expectations.  To this end one must carefully consider their rehearsal plan, in light of today’s achievable targets, avoiding mindless repetition in rehearsing difficult passages. Instead, focus on applying or reinforcing personal practice strategies such as the use of sub-division in addressing rhythmic imprecision, or employing slow, careful repetition in the acquisition of precision of manual dexterity.  It is best when the conductor can demonstrate successful problem-solving strategies through practical application in the rehearsal. Also, the use of generic rhythmic, melodic and harmonic exercises drawn from the repertoire can aid in developing ensemble listening skills leading to improved tone production and intonation, ensemble balance and balance, pitch clarity and rhythmic precision for ensemble unity. 

Please stay tuned in for the final episode on Strengthening Student Learning Through Educationally Focused Rehearsals.

In my last installment I discussed the importance of making provision for individual learning ownership as an essential rehearsal component that offers opportunities to include individual participation in identifying and addressing both achievement and failure with encouragement and accountability.

To continue along these lines, I believe that it is essential that conductors assist students in identifying the essential markers, targets or outcomes necessary for personal evaluation, thus affirming effective learning as well as enjoying the rewarding results achieved in mastering difficult passages. For example, on what 3 targets within a passage will a student identify and focus on? How will students measure their success in achieving those targets? And, are there other targets yet to be identified?  Are there bowings, articulations, correct pitches, fingerings, rhythmic accuracy or expressive inflection that need special attention?  What learning strategies will students then apply that will lead to skill acquisition and mastery? Once again, it is important that effective  learning/practice strategies are both shared, promoted and proven in rehearsal.

A valuable component of the successful transfer of individual learning into students’ hands is accomplished through the nurturing of the intrinsic self-evaluation process. Effective self-evaluation should lead students towards understanding both the value and intrinsic rewards of practicing a specific exercise or passage in light of similar learning applications.  When students become ultimately responsible for setting their own targets or goal criterion, they also begin to clearly articulate when and how they have met and achieved the technical and musical goals found in the specific exercise/passage in question. And, they will be encouraged to do it again!  

Educationally based rehearsals that introduce and encourage improved learning habits will require and employ effective and proven teaching strategies, supported with quality repertoire and teaching materials matched to the appropriate skill level of the ensemble.  Ensemble members should be encouraged to learn and master scales and arpeggios, rhythmic vocabulary, expressive etudes and solo repertoire so as to apply the learning process gained from mastering this material towards  meeting the musical demands presented in the ensemble performance repertoire.  An important point of rehearsal focus then is to use the essential applications of fundamental technique toward achieving musical outcomes through the rehearsal process.  The study of mathematics provides a fitting analogy in that mathematicians do not learn equations, save for the purpose of their application and usefulness in future problem solving.

To this end the conductor should both model and communicate the value of ‘process learning’ throughout the rehearsal, thus inspiring students to apply this ‘process’ independently outside the rehearsal. For when students’ ability to recognise both when and how the desired result has been achieved, the successful transference of the learning process is confirmed. However, to be effective in transferring motivation for independent practice, it is also important that students need to remain committed to the continued investment in practicing training material over the long term.  Conductors must assist students in resisting the temptation to neglect investing in the process of learning for the pursuit of short-term performance goals.  Professional sporting teams know the value of continued engagement of practicing fundemental skills! 

Conductors should then remain committed to providing opportunities for effective performance skills to be introduced, developed and perfected.  It is generally accepted that 70% of rehearsal time should be spent on interpretation, with the other 30% being used for mastery of technical demands found in the repertoire under consideration.  We must ensure that there is a correlation between our ensemble study material and the performance repertoire that can reinforce and assist in the mastery of fundemental skills!  Composers of significant repertoire generally assume an ensemble’s command of a prior knowledge and skill base will be applied to their work, leading to effective, rewarding musical performance. Therefore, a majority of the technical skills needed to allow our ensemble to focus on interpretation must to be addressed separately from the repertoire.

Keeping the above in mind, conductors of performance ensembles should regularly consider the following questions:

· What do we want students to have gained from ensemble participation?
· Are our students passionate lovers of music? 
· Are our students competent musicians, able produce acceptable characteristic tone, centred intonation       and expressive, intelligent well-formed phrases?
· Can our students follow, as well as lead?
· Are our students curious, purpose driven and independent learners? 
· Do our students possess sufficient reading skills?
· Are our students dependable and responsible?

It is easy to forget that rehearsals ought to also provide students with effective generic learning skills equally applicable to other subjects.  Therefore rehearsals should not be overly concerned with the goal of producing the the ‘perfect performance’, but aid in developing a personal approach to study that can be applied indefinitely to many learning targets. To this end conductors need to enable their ensemble members to become thoughtful observers, excellent listeners and articulate participants.  We should promote personal initiative and natural curiosity, but should resist the temptation to provide answers for them.  Instead, students should be led toward developing critical self-assessment criterion through exposure to great musical models and substantial repertoire, being given opportunities to experiment with their emerging musical interpretation without fear of failure, or intimidation. 

As a colleague recently pointed out  “Professional ensembles rehearse because they give concerts, whereas educators give concerts because they rehearse.” Craig Kirchhoff, University of Minnesota

With this in mind, conductors must be willing to shrug off the temptation of solely practising for the concert, and trust in the advantages of spending some of the precious rehearsal time in the gaining automated ensemble skills such as the acquisition of internal pulse, the use of rhythmic subdivision, understanding the importance of the harmonic narrative, tuning through key centre, and developing sensitivity to melodic nuance and inflection.  When ensembles are in possession of a well-developed rhythmic, harmonic and pitch vocabulary it is amazing how much more effective and enjoyable rehearsals become.  The benefits of planning educationally based rehearsals are seemingly obvious, but patience is needed, along with a willingness to rediscover the importance of ‘delayed gratification’ in the process of learning.

Duke Ellington once observed, “When a man finds out what he wants to know, well that’s the beginning of education.” But, one would do well to consider Plato’s quote, “All learning under compulsion has no hold on the mind.”  It is the conductor’s role to assist their ensembles in discovering what it is they wish to achieve beyond superimposing their personal will over an ensemble.  After all, great music performances are generally collaborative in nature, effectively combining the musicianship of conductor and ensemble, as well as between individual ensemble members.

Next week I hope to examine and discuss further both the benifits and the attributes of educationally focused rehearsals.