CLASSICAL MUSIC ARCHIVES: Conductors Tip 9

Return to the Learning Center Index

Conductors Tip 9
COMMON ENSEMBLE MISTAKES & SOLUTIONS 2

Dear Colleagues,

Let's continue the discussion of common ensemble mistakes and solutions we began in the last Tip. Here are two more - one general, the other more specific.

We'll begin with an issue of vital importance that may not be a priority for some ensemble directors, but perhaps should be. Recognizing this mistake and helping students take responsibility for avoiding it can create dramatic improvement.

#1 YOUNG MUSICIANS DON'T PREPARE THEIR ENTRANCES

When students don't prepare physically and mentally for their entrances, two significant musical problems are created.

The first is that the group's ensemble becomes ragged and the rhythm unsteady. Momentum flags, and, in the case of choruses, words become unintelligible.
The second result is that the entrance will not have the character the music requires; without the right character, both the musical discourse and the mood will be interrupted.

If we agree that not preparing entrances creates these results, and consider how very many entrances there are in the pieces we're preparing…it becomes clear just how vital entrance preparation really is.

In my experience, the main reason young musicians aren't prepared for their entrances is that most are entirely unaware such a concept exists! Their focus is more likely to be on when will they start singing or playing ("aaaaand here I goooooo…NOW") - not how they will sing or play when that moment arrives.

When you discuss entrance preparation with your ensemble, do stress these two essential elements:

Think about the dynamic and tone quality needed at the entrance;
Listen to the music being sung or played before your entrance so that you:
1. sing or play at the same tempo;
2. continue a melody or pattern.

To do this, instrumentalists must bring their instruments to playing position well before their entrance. If they don't, they'll focus on the physical act of producing sound, not thinking and listening. Young musicians will need to be reminded of the importance of getting ready to sing and play early…especially those "last minute specialists" - the violinists - who also lower their instruments to rest only a few beats! It's just a habit (violins aren't so heavy) they're not usually aware of, but they'll need your help to break it.

#2 THE LAST NOTES OF PHRASES ARE ACCENTED

Young musicians (and pros, too) frequently accent the last note in a phrase - especially if that note is on a strong beat - although no accent is indicated. This tendency is ubiquitous but, for the most part, musicians are not aware of it. Normally, no blood is caused to flow by such an accent, but the phrase's logic and beauty is certain to be destroyed. If you're not aware of the frequency of these accents or their effect, just listen to your ensemble at the next rehearsal and you're likely to hear just what I mean. The first step in addressing this mistake is knowing some of the reasons ensembles make them. Here are the two I think are the most important:

The last note in a phrase implies a finality that young musicians unconsciously manifest by singing or playing an accent on that note;
The last note in a phrase is frequently longer than the previous ones. If so, its length gives the young musicians more time to really "get into the note" by using more breath, more bow, and more vibrato; one or more of these will create an unintended accent.

When your ensemble accents the last note in the phrase in rehearsal, I suggest that you stop conducting and ask the musicians if they heard what they did on that note that caused you to stop. They probably didn't. You might then suggest that they listen to that spot carefully as you repeat the music you just conducted.

After one or more repeats, they'll become aware of - and surprised by - the accent they've inadvertently made. Awareness is the first step in their taking responsibility for not accenting the final note in a phrase. If you've been reading these Tips, you might be able to predict the next step. Ask the students to:

Sing or play the note before the last note in the phrase; stop; then sing or play the last note.
When they have, ask if the last note was louder or softer than the previous one.
Repeat the exercise until it is.
Then, start one note earlier and repeat the process, and so on, until the entire phrase is sung or played without that pesky accent on the final note.

By asking students what they hear - instead of telling them what you heard - they'll learn to take responsibility for correct execution and, in this case, they won't make the final accent. When you go through the entire piece, it's possible that the accent will reappear. But over time, and with gentle reminders, the young musicians will listen more to what they're doing, and this particular mistake - as well as others - will be made less and less. They'll make especially fast and lasting progress if you stop conducting when you hear they're not listening, ask them why you stopped, and repeat the passage until they hear - and correct - the mistake they're making.

With All Best Wishes,

David Barg, Learning Center Director
The Classical Archives, LLC
email: david@prs.net

Return to the Learning Center Index

J.S.Bach Beethoven Brahms Chopin Debussy Handel Haydn Liszt

Mendelssohn Mozart Schubert Schumann Tchaikovsky Vivaldi *All*

All composers

Live recordings - by composer

Live recordings - by instrument / performer

All: 1600 or later

Early: before 1600

MIDI only - by composer

Contributors' music


Home Read this! How to Play Sitemap Your Accesses Gifts Renew Logout Logout Login Subscribe - See the benefits.	© 1994-2008 Classical Archives LLC How to Submit Files Settings Help About
Click to add the button to your Google Toolbar. Click to add the site to your del.icio.us list.
*Music For The Rest Of Us* _®