Let me describe the problem that I see. I find that students are interested in playing correctly. I also find that they are used to being told specifically what to do in rehearsal. What I find missing, are appropriate habits of mind or habits of what to be thinking about throughout the rehearsal process. For instance, if a student has mastered the notes and rhythms of a particular passage and the conductor continues to review that passage, my feeling is that students don't understand what they can be thinking about individually while the repetition is occurring. So, with that in mind, I felt it would be important to discuss this concept with my Orchestra. As we began to develop a list of things to think about while in rehearsal, it became apparent to me that there is a hierarchy of these concepts that one might consider while in rehearsal. Obviously, early in the rehearsal process, basic ideas such as right notes, right rhythms, key signature, time signature, etc. are the things that one should focus on. However, as the rehearsal process progresses, each individual should be able to move on to higher order skills in the ensemble rehearsal process.
For instance, after a student has mastered the notes and rhythms, they may then move their thought process to the written dynamic scheme of the piece. Or, they may be compelled to think about bow direction and or bow placement. Or, they may to turn their attention to other parts in the orchestra, focusing on what's happening outside their own part both around and with them. This, to me, begins to look like a taxonomy. That is, a sort of hierarchy of priorities and mental habits within the ensemble rehearsal process.
Here is the list that we came up with in class. I have been keeping it posted on the white board at the front of the room. Then, if a students needs some ideas on what to think about, they can refer to it quickly.
Here is the list that we came up with in class. I have been keeping it posted on the white board at the front of the room. Then, if a students needs some ideas on what to think about, they can refer to it quickly.
- Accurate Rhythm and Time
Obviously, these are the first steps in learning a piece of music. Right notes played out of time are wrong notes. So, I place a great deal of emphasis on rhythm early in the rehearsal process.
- Accurate Notes and Key
Very close behind rhythm is tonal center and correct notes. Obviously. The thing is that many teachers never get past this spot in the taxonomy. This is understandable. If the students are out of tune, this must be corrected.
- Playing Technique
I try to give all of my students individual technique goals. These can be left or right hand position, bow hold, set up, right had fluidity, vibrato, etc. Then, they can focus on this when they have learned the basics of their part.
- Written Dynamics
This is the next obvious step in preparing a part. It is written on the page, for goodness sake. I encourage my students not to think about dynamics as some fixed value, but rather to consider them in the context of the overall piece.
- Fingering/Shifting
This is one of the first big shifts in thinking that I find I can affect. So many kids think that they only need to shift when the part gets high. I try to change that way of thinking to looking at fingering from a perspective of ease of passage, tone color, and string crossing.
- Bow Direction and Use
In a perfect world, this would be higher in the taxonomy. I feel like this is incorporated into every moment of every rehearsal. I don't usually over-bow string parts for my orchestra. I want them to be thinking critically about direction as it pertains to style, dynamics, and articulation. Bow direction is so subjective. I usually have very clear priorities, but I love to articulate them in the context of a great discussion about bow direction.
- Articulation
This is strongly related to bow direction. I find that students often come to me with a very limited palette of articulation options. I try to get them thinking about the initiation of sound throughout the rehearsal process.
- Vibrato/Tone Production
Vibrato and tone production are often the difference between an average overall sound and a mature sound. But, where do changes occur and how can these be varied? These are important questions for each musician to be constantly asking themselves.
- Artistry/Direction of line
This is where real musicianship develops and emerges. When we can get a student to think about this independently, they are truly on the way.
- Tempo/ Push-Pull
This is typically dictated by the conductor, but the students that are intuitive with this can help the group along!
- Section and Individual Balance
Where do I fit in the dynamic balance of the orchestra? Where does my section fit in the dynamic balance of the orchestra?
- Section and Individual Role
What is my role in this passage? What is my section's role in this passage? Melody? Harmony? Off Melody? Bass line? Engine? Rhythmic Underpinning? Sustain/Pads? Teacher? Student? What else?
- Perspective and Emotion/ Performance
How might I move during this passage? Who should I look at? What is the overarching emotion of the passage?
So, what have I missed?
Is this something that you may be able to use with your classes?
I truly believe there is something here for everyone. We have all had that precocious kid that thinks their work is done before they have even scratched the surface. Maybe this can work for them. Or, maybe your whole group would be open to thinking about this. I certainly hope there is something here that you can use in your ensemble.
Peace.
Scott
