Sectional Rehearsals

Sectional rehearsals are an integral component of any orchestral concert cycle.  Today was my first opportunity to hold sectionals with my new group of students at NCSSM.  Rather than to simply throw them into the sectional rehearsal experience, I thought that it would be beneficial to discuss the goals, important techniques, and values of the sectional rehearsal process.  We had a great discussion before they broke into sections and then we discussed the results at  the end of class.  Here are some of the thoughts and concepts that emerged in class today.

Goals of the Sectional Rehearsal:

• Details
• Fingerings
• Bowings
• Intonation
• Rhythm

These are the nuts and bolts of the section's work.  Most everyone recognized that these are the primary goals of the sectional rehearsal and following today's rehearsal, it was clear that these were the primary topics of discussion.  

• Tone/Sound

I would argue that this may be part of a sectional rehearsal later in a concert cycle.  Earlier sectionals with student musicians may never get to this point.

• Phrasing/Expression

Much of this work will be done in the larger group rehearsal and it is even possible that work in this area in a sectional rehearsal may occasionally run contrary to the conductor's vision for a piece.

• Ensemble

This is where the section may hear inconsistencies in style, articulation, and and rhythm; as well as see inconsistencies in bow placement, use, and distribution.

• Communication

One student noted that this is a perfect opportunity for student leadership and for students articulate original thoughts regarding the repertoire at hand.

• Corporate Gain

It is vital that every musician walk away with a sense that the time was well spent for the individual, the section, and the greater ensemble.

Vehicles that help reach the goals:

• Collaborate

Everyone must be willing to work together.

• Communicate

The sectional is more effective when folks communicate freely: ask questions, offer suggestions, and engage in the group goals.

• Active Participation: Invest!

One can not simply "go through the motions" in a sectional rehearsal.  The activity requires active engagement from all parties involved.  This is really tough in today's academic setting.  If find it more difficult each year to elicit active mental rigor from every member of my ensembles.  I will not give up the fight!!

• Listen

I feel that listening skills are not addressed enough in the orchestra rehearsal. We discuss what the player should "do."  Sectionals are a great vehicle for individuals to exercise listening skills.

• Assess

This is another great opportunity for musicians in sectionals.  They are, by nature, less conductor-centric than rehearsal.  In a rehearsal, the conductor is constantly assessing and the musician is adapting to the conductor's instruction.  Sectionals provide the opportunity for the individual musician to assess their work and that of those around them.

• Think like a scientist: Identify problems, develop a hypothesis, limit variables, address issues

At my school, this makes lots of sense!  I love to draw the comparison of a person practicing to that of a researcher.  It is an easy comparison to make.

• Slow Down

No - really - slow down!  Like - half tempo.  Or less!  Zoom into the microscopic level of rhythm and intonation.  Take time to really hear intervals.  So often in rehearsal, some members of an ensemble are "left in the dust."  It is part of the process of rehearsal.  So, seize the opportunity in sectionals to slow things down and meaningfully listen to the inner levels of the parts assigned to the section. 

Don'ts  (Things that make for a bad sectional rehearsal):

• Just run through passages

What a waste of time.  We can do that any time.

• Clam up

We have to communicate.  Take a chance.  If you are thinking it, someone else is too!  We all must lead and that comes in a variety of communication packages.

• Weak Leadership

Enough said.  Someone has to drive the train. My students all agree that a sectional where no one is willing to lead can be futile.

C.A.S.T.

• Citizen
• Artist
• Scholar
• Teacher

Many of you have read my previous posts on this acronym.  I believe deeply that after each rehearsal, any student should be able to look at this acronym and identify the areas that have been addressed. Have they enhanced their citizenship of the ensemble? Has their artistry been engaged?  Have they expressed or enhanced their scholarship?  Have they taken advantage of opportunities to lead and help, as well as learn from, colleagues.

As a result of this work, I intend to create a template for a good sectional rehearsal to use with my students in coming months and years.  This would provide a model and outline for the anatomy of a productive sectional rehearsal for student reference.

How does all of this hit you?  What have we missed?  What did we get right?  I would love to hear from you as I continue to develop the template for a great sectional rehearsal.   I will share it here in coming days and weeks.

Until next time.

Peace.
Scott

Side by Side

Hi all -
It is a cold morning in Northern MI today, so I am inside the library at Interlochen, catching up on e-mails and on organizing my thoughts for this next set of concerts.

We have a new initiative here at Interlochen that I thought I would share with you today.

During the summer, we have an amazing faculty of artist/teachers that come to Interlochen to teach for the summer.  Each 3 week session, I have 5 of these folks assigned to my orchestra to lead sectional rehearsals and help with the preparation for upcoming concerts.  During our first 3 weeks of concerts, a decision was made to convert some of these sectional rehearsal meetings to "side-by-side" experiences within the context of the orchestra rehearsals.  During a side-by-side, the instructors came to rehearsal and sat within the section, offering tips on bowing, style, fingerings, technique, etc.

I was pleased to hear of this opportunity for our students.  I know that as an undergrad at Indiana University of Pennsylvania, I had the opportunity to sit beside my violin teacher, Mrs. Delight Malitsky, in almost every orchestra rehearsal for three years.  She sat at the Concertmaster position in the university orchestra and I sat in the Assistant Concertmaster position.  In every rehearsal, she would model all of the best of orchestral practice and give me and the other players tips throughout our time together.  I can't begin to describe how very much I learned from her in that setting.

I was really pleased with the results of the side-by-sides during our first two concerts. During the first and second meeting, the faculty were able to sight-read the repertoire that I had selected for the upcoming concert, discuss the various sight-reading techniques, and offer an aural image to the students for their upcoming work.  For these early rehearsals, they sat at the Principal positions in the section and were able to interact with each other both verbally and musically for the students in the section.  In my opinion, it was magical.  I did my best to make those meetings significantly less "conductor-centric" that my standard rehearsals and simply give them the framework in which to teach and lead.

Later in our concert preparation, the teachers sat in the middle and back of the sections, where they could look over the section for problem spots with bowing, technique, physical interaction, etc. and give thoughtful tips and tricks for cleaner, more expressive and unified performance.  Sectional rehearsals were not completely abandoned and they were able to give more specific advice to their respective sections in those meetings.  I also think that the ensemble meetings gave the faculty members a really good idea of the composers' vision and a better feel for the specific needs that could be addressed in the sectional rehearsals.

Those of you that know me, know that I am all about collaboration.  I loved having the opportunity to collaborate with my colleagues in these "side-by-side" experiences and was thrilled with the results.  I feel like I know them so much better at this point and really value their expertise and musicianship in new ways.  Perhaps they feel the same after working with me in this way.

I do this think this requires balance.  There is definitely a need for the sectional rehearsal in this environment.   But  there is so much that a young musician can learn by watching a true pro in the rehearsal environment. The real key is that the conductor stay out of the way.  (Not one of our strong characteristics - by the way!)

Both concerts that were performed at the end of this experiment were outstanding and I think the students experienced a real benefit from the opportunity.  We will see how it goes for the next two concerts with a new group of kids!

For now, stay warm.

Peace.

Scott