NCSSM is operating on a low density model this year. Half of our student body is on campus and the other half is at home across the state. The cohorts will switch in October so that everyone has an opportunity to live on campus at some point this semester if they desire. Our registrar has worked hard to create relatively even cohorts. But, as you may imagine, some classes are skewed heavily to the remote or residential side. In any given class, I will have some students attending remotely and others in person. So, as I plan for any orchestra rehearsal, there is a technology element to work with or around.
I strongly believe that the best pedagogy starts with a system. I try to be very predictable in my teaching. I also operate best with sequential plan for instruction. I try to be articulate with my students about the values that I am bringing to my course and syllabus. My first step in devising a plan for this school year was to look closely at my syllabus, determine which elements of a traditional orchestra experience could be kept front and center this year, and also determine the elements that needed to be put aside for a little bit.
So, what elements are in and what elements are out? First, let's discuss those that stay. A number of years ago, I put together a Taxonomy for The Ensemble Musician on this blog. I encourage you to go back and check it out. I feel strongly that many of the elements outlined in the taxonomy are eligible for discussion even in the remote ensemble environment. Rhythm, pitch, dynamics, phrasing, accurate intonation, musical nuance, articulation, and many other skills can be developed during this time. Some things that will hold a significantly lower priority this year include watching the conductor, listening across the orchestra, developing rubato, live performance practice, and other similar skills and concepts. Obviously, for the time being, we will not be preparing for live performances. Furthermore, I do not foresee having my entire ensemble in the same room for at least the rest of this calendar year. Honestly, I believe it will be longer. So, we will be focusing on recorded remote ensembles. In the recorded remote environment, there is an added benefit of students listening to their own recordings, getting familiar with recording technology along with learning about the different type of stress involved with recording. These are new additions to the syllabus that match our current situation. Our goal will be to create a number of remote ensemble recordings throughout the upcoming year. We will begin with simple, short chorales and move sequentially towards more difficult (and diverse) repertoire. Initially, the priority is to get used to the system of rehearsing and ultimately performing a remote recording of an orchestral piece. As we move through the term, the difficulty of the repertoire will increase and we will endeavor to advance many string technique skills along the way.
In order to do this in an orderly fashion, I have developed a weekly plan to keep things organized. Here's how I am operating: I have three rehearsals per week. On Tuesday evening I have a 100 minute rehearsal with the entire ensemble in the room. On Wednesday and Friday, my Orchestra is split into two sections. On these days, we have 50 minute classes. Tuesday night large rehearsal is primarily content delivery only and is fully remote. In this rehearsal, I am primarily giving notes on the repertoire at hand. In addition, I am planning to invite guest speakers to a number of these Tuesday evening rehearsals. I will be focusing on inviting alumni who have gone on to careers in both music and other areas. This long rehearsal is at the end of a long "Zoom" day for everyone and I am trying to keep class light and fun, but full of important content and business. Students are expected to have their instruments and parts out and take very complete notes in their parts. Wednesday is my most rehearsal-like time. There is two-way interaction throughout the class period. Everyone is playing, both those who are on site, and those who are remote. The hardest thing about these rehearsals, quite frankly, is trying to articulate directions and instruction through the mask. I find that I am speaking way too loudly and my voice gets quite fatigued by the end of the day. Fridays will be asynchronous with time for students to practice and seek individual assessment from me. I know it is odd and complex. But, after 2 weeks, I think the plan is going to work.
Just so everyone understands: I am creating recorded "audio guides" for every piece. They include all the parts and a click track. There will be no conducting in this environment. It is all done to a pre-recorded audio guide. It takes me awhile to create these audio guides, but it can be done and I am actually really enjoying the process. This also allows for me to play all of the parts for the recording and become familiar with the tricky passages, opportunities for alternate fingerings, misprints in parts (who knew there were so many!), and other performance issues. Yesterday, I created a complete audio guide for Fanfare and Frippery No. 2, by Richard Stephan. It took me a couple of hours and I was able to present it to my class last night. As we rehearse with these audio guides, we will focus on the stuff we CAN do: intonation, technique, accurate rhythm, musicianship, and the fun/magic of recording.
Additionally, there is lots of student choice and opportunity here as well. The recorded environment is not for everyone. There can be a great deal of anxiety associated with recording a part and playing alone. Many students take ensemble music so that they don't have to be put on the spot individually. We recognize this at NCSSM and are trying to honor that situation as we move through this unprecedented time. If a student is freaked out by this plan and process, they can take a left turn to something they want/need to learn, such as vibrato, third position, shifting, scales, etc.
There is another very important element to all of this. Relationships are the most important thing. I say every student's name at least once a class. I ask how their day is. I acknowledge and encourage good humor. Our children are craving connection. It is our most important job as music instructors. The content follows the relationship.
So, you now have a much better feel for the plan I have created period what are your thoughts? How are you approaching ensemble music during remote or hybrid learning? What barriers have you encountered? I hope to hear from you and wish you all the best as you generate your plan for the upcoming school year.
Peace and good health.