The Conductor's Companion: 100 Rehearsal Techniques, Imaginative ideas, Quotes and Facts

Author

FOREWORD

When I buy a ticket to a performance of the Chicago Symphony Orchestra, I’m not always certain what the concert repertoire is going to be. Frankly, that is far secondary to the much-anticipated joy of hearing the magnificent talent artistically shared by the CSO; I already know it is going to be an extraordinary gift of great music-making. Likewise, when I first read through the list of nearly100 authors who are the key contributors to The Conductor’s Companion, I knew it would be a remarkable volume of priceless information offering key benefits beyond compare. If anything, my prediction fell far short of what you are about to embrace generated by an all-star group of MASTER TEACHERS who have been to the well.

In a day-and-age when social media can instantaneously connect anyone with everyone around the globe, and people are mesmerized by those concise, popular TED Talks (that have become the lecture-choice of the times), it is exciting to see what Gary Stith (and his extended community of today’s most successful music educators) has put together in a must-have anthology strategically crafted in today’s contemporary style of communication exchange. All of the concisely written morsels of wisdom allow the reader to spend a brief amount of time consuming the to-the-point library of tried-and-true ideas accompanied by a host of pragmatic tools applicable to any-and-all forms of music-learning and music-making. Open to any page for a quick-read; you will be availed to a one-of-a-kind gem delivered in a first-class, user-friendly fashion.

This is a book you will want to keep close by so you can access it at all times. Whether you are standing in line at your local bank, or waiting for the faculty meeting to begin, you can take advantage of the moment to tap into the minds of our profession’s most recognized heroes. What better investment of-and-for personal development could there possibly be? It truly represents the creme-del-a-creme of the collective years of each of the writer’s pathway-to-excellence.

The Conductor’s Companion: 100 Rehearsal Techniques, Imaginative Ideas, Quotes and Facts is an idea WHOSE TIME HAS COME, and we are fortunate recipients of a this bountiful harvest spotlighting the best . . . of the best . . . from the best! BRAVO, BRAVO, BRAVO!

— Tim Lautzenheiser

ACKNOWLEDGMENTS

The book in your hands is the result of an eighteen-month project for which an especially large number of people are responsible.

First and foremost, a debt of gratitude is extended to the nearly one hundred band and orchestra conductors from across the country who contributed some of their most cherished and innovative rehearsal techniques and program ideas with the selfless desire to simply benefit all of us in the profession. Thanks to each of you for sharing so willingly, enthusiastically, and passionately.

Another huge serving of thanks is due to my loving wife, Joyce, who has not only supported me during the many months spent in the collection and editing of all the material found in the following pages, but who also served as the primary proofreader for its entirety. It’s been an extra special blessing having her working by my side on this publication.

I also must express my sincere gratefulness to our grown children Andrea, David and Meghan who are the other loves of my life. Throughout their growing up years, whether forced to endure my private percussion students in our not-so-soundproof basement early every Saturday morning, or all too frequently putting up with what apparently were my not-so-hilarious dad jokes, they have always lovingly and caringly supported their father. Those occasions when my kids have shown that they were proud of me have meant more than they will ever know.

Tremendous credit is also due to Shawn Girsberger who, from cover to cover, patiently and meticulously served as the layout designer extraordinaire for this entire volume.

Finally, my heartfelt appreciation is extended to Garwood Whaley (who, in my opinion, is the greatest publisher on the planet) for his never-ending encouragement, wisdom and advice. If it were not for his initial invitation to assemble this publication and his profound support, this offering would not have come to fruition. ■

INTRODUCTION

Born into a musical family where my father served as director of bands at both Syracuse and Cornell universities, I found myself immersed in the musical world from my infancy. However, it was as a young percussionist in Frank Battisti’s Ithaca High School Band that I was blessed with a series of experiences that significantly cemented my career choice for life. Playing under his infectious leadership on a daily basis was intensely inspiring, to say the very least. In addition to his focus on quality literature and his continual demand for excellence, his exemplary program also included frequent visits from some of the most outstanding conductors, performing artists and composers of the day.

One of the experiences he afforded us took place in May of 1967. Along with a star-studded list of guests that included composers Vincent Persichetti, Warren Benson, Robert Ward, David Borden, and tuba soloist Harvey Phillips, our featured guest conductor for that spring concert was Frederick Fennell who brilliantly rehearsed and then led us in an unforgettable performance of Lincolnshire Posy. Reflecting his enthusiasm, thorough preparation and passionate commitment to the work, Fennell didn’t just lead us through that classic Grainger masterpiece, he became it. I found my eyes riveted upon him as he skillfully, methodically and creatively prepared us for that life changing evening concert.

Today there are a number of excellent band and orchestra directors who are gracing the podiums of rehearsal halls across the country, each with his or her own bag of tricks that have made their rehearsals, concerts and programs engaging and extraordinary. As a result of reaching out to many of them, offered in the following pages is somewhat of a conductor’s toolbox loaded with imaginative rehearsal techniques and innovative program ideas that have been developed and utilized by these exemplary conductors. With topics that include establishing internal pulse, improved intonation, rhythmic precision, musical phrasing and even creating a family-like rehearsal atmosphere, it is my hope that the wisdom and ideas shared in this small paperback will as profoundly impact you as they have me.

Also included are nearly one hundred inspirational quotes along with a few that will simply make you smile. Some of these little gems can be used in the rehearsal setting, and many may prove useful in advocating for your music program with administrators, trustees, school boards, and your community. They can also prove powerful when printed in student band or orchestra handbooks or syllabi, and can even be placed strategically in concert programs.

Each submission concludes with an interesting, and often little known, fact about a legendary composer or conductor that can be used to spice up your rehearsals or to even share with an audience.

All is offered to present and future directors in hopes that this concise volume may truly prove helpful and become a desk top reference guide for the many devoted elementary, middle school, high school, university, community and professional directors and conductors across the land.

Please note that you will occasionally discover overlap in regard to some of the ideas offered, but always with a slightly different spin. These varying perspectives are purposely included in the text to address rehearsal techniques and ideas from varying points of view and in the hope that your own creative juices might be further wetted.

Though the offerings appear in alphabetical order by author or contributor, a topical index is included that lists the various rehearsal techniques and program ideas by category so that you can quickly reference specific ideas to assist with any issue currently being encountered in your own rehearsal hall or music program.

It is my prayer that this compilation will prove beneficial and practical as you strive to inspire the musicians entrusted to you in the same manner that some of the legendary conductors of our time have impacted us.

Gary Stith

Williamsville, New York

II Cor. 3:5

Collaborate Your Way to Program Success

Michael W. Allen

Boynton Middle School

Ithaca, New York

Inspirational Quote

Where words fail, music speaks. — Hans Christian Anderson

The instrumental program at Boynton Middle School attempts to continuously offer students enriching experiences of lasting value. To help inspire this end, Michael W. Allen, Director of Bands, recommends the model below for maximizing the use of local resources. The program encourages one-on-one opportunities during the school day and special programs after school. The cumulative positive effect of the one-on-one interaction permitted by these collaborations can be measured in increased student involvement and higher retention rates.

An overview of the collaborations is summarized below. These opportunities are in addition to regularly scheduled weekly group lessons.

Junior Student Teachers (Ithaca College). Usually six each school year (as many as 11), working one-on-one weekly with students in grades 6 through 8.

Senior Student Teacher (Ithaca College). Spring semester, one-on-one instruction, small groups, large ensembles, music administration and chamber ensembles.

Student Interns (Ithaca College) Interns earn 2 to 4 college credits, work full or partial days up to 4 days weekly each semester. Valuable podium time is included.

High School Mentors (Ithaca High School). Mentors volunteer ahead of time to teach private lessons during January and May exam weeks. This program is widely popular. Some mentors use this opportunity to earn community service credit for various programs.

Alumni Mentors (college). College mentors volunteer to teach one-on-one during their winter break in January or in May/June when they return home. Very popular program.

Retiree Mentors (local musicians, former professors). Retired mentors work one-on-one or rehearse large ensembles during the school day. Keeps them active as role models.

Summer Band and Orchestra. An Ithaca Youth Bureau/Boynton Middle School/Cornell University Program. The Youth Bureau handles registration forms, fees, insurance and contracts. Cornell provides rehearsal spaces. Boynton supplies the conductors. Enrollment regularly exceeds 100.

Scholarship Programs. Scholarships have been established to help students afford registration fees for honors music festivals, summer music programs, solo festival and annual trips. The scholarship programs include, a) Kaiser Summer Music Program Scholarship, b) Rella and Barney Cohn Summer Music Program Scholarships, c) Premiere Performance Scholarships, Needs Based Scholarships. $8,000 is awarded annually.

Gregory B. Rudgers Young Composers Project. 8th graders write original works for band with Greg Rudgers as weekly mentor. Premieres are performed at the May concert.

Composer Outreach Program (Ithaca College). Composition majors of Dana Wilson and Sally Lamb McCune write original works for concert band with student input. Premieres are performed in May.

Community Fine Arts Booster Group(FABG). An affiliate of the Ithaca Public Education Initiative, FABG awards teacher mini-grants, pays to print concert programs, advocates for the arts, repairs donated instruments and gives them to the school. FABG is a district wide support group. Scholarships are funded by playbill advertisements. ■

Composer/Conductor Fact

One of the distinguished graduates of Boynton Junior High (Middle) School, Class of 1945, was Frank L. Battisti.

Learning It Right by Playing It Wrong: Wrong Is Right!

Milt Allen

Noted Conductor, Author, Speaker and Clinician

Columbus, Ohio

Inspirational Quote

Music will save the world. — Pablo Casals

We certainly want it right, don’t we? As conductors and educators, we are constantly asking our musicians to reach for the ideal we hold in our heads. The challenge, however, is that we often forget that they have no frame of reference. As an example, listening to others model something can be helpful. The human mind has an incredible ability to do what is necessary to mimic, but what about those things that also have a physical element to them? How does the physiology work to crescendo? To play with an accent and not a staccato? And, of course, what about conceptual ideas like key signatures, time signatures, and transpositions, having an ensemble play with a bright or a dark sound? We struggle so hard to get what is that, perhaps, defining what isn’t may be a better approach, or at least one that can assure that our students understand what we ask of them. With that in mind, an easy way to establish a baseline of understanding is to not only ask for our musicians to do something, but to then, well, do the exact opposite! Here are some examples that should help illustrate the technique. And, yes, you’ll need to accept something that is completely wrong. The payoff, though, can be fantastic! What the composer is asking for not only suddenly comes into focus, but also creates some wonderful, teachable moments! Don’t be surprised, too, if there’s a bit of laughter! Doing things wrong on purpose helps point out the musical absurdity in doing so.

Key signatures

Play a section of music (or perhaps you just did), completely ignoring the key signature. Have all the students play in their own key of C. Now, go back and play it with the correct key signature. If needed, be sure to discuss why the signature is important to the listener!

Crescendos/Decrescendos

Over-play both!

Readjust the shape of the crescendo/decrescendo (more at the end or beginning), and the resulting effect it creates.

Now play the opposite of what is called for!

Evaluate the musical impact the different variations have on the musical moment.

Articulations

Begin by playing the complete opposite articulation from what is written.

Now, overplay the given articulation. Oftentimes, especially with younger groups, this will be an opportune time to discuss and demonstrate how to properly perform the written articulation. With articulations, it is common for the physical component to create the problem, e.g. too much tongue, tongue placement, not enough air support, or wrong consonant being used to evoke the sound. Have the rest of the ensemble evaluate what they hear from one section. Direct listening is a great thing!

Phrasing

Play inverted contour phrasing.

Play the phrase with emphasis toward an awkward phrasal point. As a group, always involve the ensemble in discussion!

So there are a few quick suggestions to get you going. Now it’s up to you to teach your musicians right . . . by playing wrong! ■

Composer/Conductor Fact

Percy Grainger had a definitive fear of automobiles and planes, generally preferring to travel by train.

Imprinting To Reinforce Student Learning

Terry Austin

Director of Bands

Virginia Commonwealth University

Richmond, Virginia

Inspirational Quote

Inspiration is a guest that does not willingly visit the lazy. — Peter Tchaikovsky

One aspect of rehearsing that directors often find a bit frustrating is retention. We always wonder how much of what we intended to get across in a rehearsal is actually retained by our students. This is especially important in guest conducting situations where a lot must be learned in a very concentrated time frame. Another problem that is faced when conducting an honor band or orchestra is the tremendous amount of playing that is done in each day of the event, which results in fatigue. So any strategy that helps students remember and simultaneously not further overwork tired embouchures is very useful.

Terry Austin advocates a series of strategies that require students to think. He has found that a process he refers to as imprinting is very effective. It consists of several simple steps:

Have a limited number of very clear rehearsal goals

Refer to these goals frequently during rehearsal

Ask students at the end of the rehearsal to identify what was done/accomplished during rehearsal before dismissing them

Start the next rehearsal by asking them what they were supposed to remember from the last rehearsal

As an example, Terry has found that the following things may be what me might like to accomplish in the first rehearsal: (You may