In my last post about rehearsing,
I made the point to bring musicality, especially phrase shape, into the
rehearsal process early. One reader responded (and thank you for
responding--I enjoy feedback or additional comments, whether you agree
or disagree!) that one has to be careful to balance the various elements
of teaching--and that he'd seen young conductors, "spending too much
time talking about wonderful phrasing ideas that the students completely
miss because they are desperately trying to find the next note!"
I absolutely agree that balance is important. And while I've seen
some examples such as he gives, I've also seen conductors spend lots of
time teaching notes with no reference to phrase shape, resulting in very
unmusical note-by-note singing. And this is what I'm saying is actually
inefficient, since now (if the group is to sing musically)
your choir has to un-learn they way they phrase and connect from note to
note . . . which either takes time to do or your choir never really
gets there.
So, a bit more about finding that balance--and I absolutely agree
that's the challenge! And thanks to an alert reader to help me explain
in more depth!
When I teach a new piece, I use all the teaching/rehearsal
techniques that I can (none of these new to you, I'm sure!), given the
reading level of my choir and the difficulty of the music. I'll slow
down the tempo, take away text and sing on a neutral syllable,
count-sing, isolate just the rhythm (or rhythm with text), play the
underlying chord structure, etc. I may, for a difficult passage play or
sing a part, or isolate a difficult interval or intervalic combination.
If two parts have dissonances that confuse the singers, I may play those
or isolate the two parts, stopping on the beat where the interval
(major 7th or minor 2nd, let's say) occurs, so the singers have time to
hear it correctly--and to hear if they are correct or not, etc.
Any of these activities call for repetition--in the repeated tries,
essentially, you're shaping the singers' performance from an inability
to sing the correct notes or to sing them at tempo with text, to the
point where the choir is able to sing a passage correctly, in time, with
excellent intonation, the correct vowels, etc. This may well be a
process that continues over a number of rehearsals--the shaping may get
them part-way there in one rehearsal, the work continuing later.
It's in the repetitions that I feel one has to begin to sing the
lines with good musical shape (or as the quote from Ralph Kirkpatrick
said, "The essential expressive quality of a melodic interval lies not
in the notes themselves, but in the space between the notes, in the
manner in which one gets from one note to another.").
So, as we repeat a passage (with the whole choir or just one part)
several times, I'm going to start shaping the phrase as well. This isn't
usually done by long verbal descriptions, but by demonstration (the
old, "a picture is worth a thousand words" is true for musical
demonstration as well), by gesture (if on a 3rd or 4th repetition they
can now look up), or by a quick reminder to the choir of what I teach
all the time as basic principles of musical singing and phrasing. This
means that somewhere in the middle of the note-learning process, I start
to shape musicality. Even one difficult interval can be shaped
musically rather than not. What I don't want to do is to sing a passage or interval 5 times in a row in an unmusical manner--that simply teaches
the choir to sing unmusically. Whether through demonstration or brief
explanation, I want each repetition (as the choir gets closer and closer
to correcting the pitches or rhythms) to be shaped more and more
musically as well. And I know they can do that while learning
the notes, as long as I feed it to them in a way and at the speed with
which they can absorb both. And if I do this well, they'll be learning
the music with the beginnings of musical shaping from the beginning--and
not learning an unmusical way of singing that they'll have to unlearn
later.
This is getting long, so I'll speak more about this in future posts.
But I can't let this go without mentioning a session that Pamela
Elrod-Huffman will do in Dallas on the rehearsal techniques of Robert
Shaw:
Thursday, March 14, 10:30 a.m. in the City Performance Hall
"In terms of rehearsal disciplines, Robert Shaw believed that
attempting to teach “everything at once” led to a confused and imprecise
artistic product. In Shaw’s rehearsals, skills were layered one element
at a time—as each new element was added, the previously taught elements
were further reinforced. Using examples from the standard choral
repertory, this session will demonstrate how Shaw progressed from
note-learning stages to the final product, utilizing rehearsal
techniques that were beautifully efficient and pedagogically sound."
It may sound from the description that this is the opposite of what
I'm saying, but I don't think so. What I describe above is the way I go
back and forth (but rather quickly) from working on particular elements
the choir is learning to another. I don't follow the same rehearsal
process as Mr. Shaw, but certainly spend time focusing on individual
elements one at a time. My layering simply happens in a different way
and sequence.
I was never lucky enough to work with Mr. Shaw, but have had long
conversations with others who've worked with him extensively (from those
who sang with him in France to several who sang with him in Atlanta). I
use some of his rehearsal techniques, but am always interested in
learning more. I look forward to this session to add to what I know and
do--and perhaps change some of my usual practices.
That's one of the joys of this "job" -- one never knows it all (or even a small part of it) and there's always more to learn!
No comments:
Post a Comment