About this course: Learn and practice the basic principles of running an effective music ensemble rehearsal. Techniques and strategies are applicable to a variety of ensembles, including bands, orchestras, choirs, and chamber groups.
Created by: The University of North Carolina at Chapel Hill
Taught by: Dr. Evan Feldman, Associate Professor & Wind Ensemble Conductor
Music
| Commitment | 20-25 hours of lectures and exams |
| Language | English |
| How To Pass | Pass all graded assignments to complete the course. |
| User Ratings |
Syllabus
WEEK 1
An Introduction to Rehearsing
This week, Module 1, we’ll discuss basic philosophical issues such as: What we do in rehearsals, what skills are needed, and the idea of the conductor as “the composer’s advocate.” I will also introduce the concept of Macro-Micro-Macro, which serves as the overarching principle of rehearsals. Then we will move on to basic conducting technique.
21 videos
- Video: What Do We Do in Rehearsals?
- Video: What Skills Do We Need?
- Video: Calibrating Your Ears
- Video: Serving as the Composer’s Advocate
- Video: A Choral Perspective: The Rehearsal Process
- Video: An Orchestral Perspective: Three Categories of Conducting
- Video: Introduction to Conducting
- Video: Basic Set-Up
- Video: Conducting without a Baton
- Video: Baton Grip
- Video: Basic Patterns
- Video: Active and Passive Beats
- Video: Starting Pieces
- Video: Ending Pieces
- Video: The Ensembles that Appear in this Course
- Video: Macro-Micro-Macro: The Basic Process
- Video: Examples of Macro-Micro-Macro: Breaking Things Down
- Video: A Choral Perspective: Teaching Notes
- Video: Rehearsal Demos: Macro-Micro-Macro
- Video: Conclusion
Graded: Module 1 Quiz
WEEK 2
Communicating with the Ensemble
Module 2 begins with a discussion about repertoire: how to define quality music and how to choose a balanced, musically nourishing program. Building on the topics of Module 1, this week’s conducting technique videos focus on the grammar for starting and stopping pieces. In the rehearsal technique videos, the overarching topic is how to communicate with the ensemble to convey musical intent. Essentially, the idea is to give musical instruction, but there are a range of strategies we must master to be effective in all situations.This week introduces those strategies and organizes them according to modes of instruction, including performance technique, adjectives, analogy, and modeling.
17 videos
- Video: Finding Quality
- Video: Choosing Repertoire: The Musical Meal
- Video: A Choral and Orchestral Perspective: Repertoire
- Video: Count-offs: Additional Ways to Begin a Piece
- Video: Rehearsal Examples: Starting on Various Beats within a Measure
- Video: Stopping the Group
- Video: Changing the Size of the Pattern Based on the Music
- Video: Introduction to Rehearsal Segments
- Video: Directing People's Attention in Rehearsal
- Video: Who, Where, What / Measure Numbers / "Count with Me"
- Video: Using "I" and "We"
- Video: Insisting on What You Want
- Video: Strategies for Communicating Musical Ideas
- Video: Communicating with Various Modes of Instruction
- Video: A Choral and Orchestral Perspective (Multiple Topics)
- Video: Conclusion
Graded: Module 2 Quiz
WEEK 3
Introducing the Rehearsal Toolkit
Week 3’s material begins with more left hand technique, expanding on the concepts introduced in Module 2 and continuing with gestures to show dynamics. The section on rehearsal technique begins with an explanation of the ‘Rehearsal Toolkit,” a collection of ideas, or “tools,” each designed to fix a musical issue. Rehearsal tools are meant to supplement the modes of instruction that were discussed last week. In other words, in addition to using direct vocabulary, modeling, and metaphor and analogy, these tools can elicit musical responses when gesture and words fail. A caveat: all of these approaches depend on the musicians having the technique required to perform the repertoire. This may seem obvious, but the fanciest baton twirl and colorful analogy are meaningless to help, say, a trumpeter, perform staccato if he does not tongue properly and employ good embouchure. Fundamentals must be taught, either in or out of the rehearsal, and the appropriate method depends on the level and age of the musician in the ensemble.Module 3 concludes with multi-purpose tools, including singing and “bopping.” These are the Swiss-Army knives of rehearsal technique, each useful for a variety of issues, from articulation to balance to rhythm. As you acquire the tools discussed in this module, also consider what else you can put in your toolbox. What techniques do you currently use? What tools can you borrow from other musicians? The more options we have in rehearsal the more likely we will be to solve a musical problem.
25 videos
- Video: Introduction to Left Hand Technique: Statue and Mirroring
- Video: More Left Hand Technique: Statue, Mirroring, and Independence
- Video: Demos of the Left Hand in Rehearsal
- Video: Showing Dynamics and Dynamic Changes
- Video: The Importance of Technique as a Foundation
- Video: The Rehearsal Toolkit: Rhythm
- Video: Teaching Subdivision: Filling in the Rests
- Video: Thinking in Rhythmic Subdivisions
- Video: “Playing” without Sound: Active Resting and Handoffs
- Video: Working with Contrasting Rhythmic Layers
- Video: Cleaning Up Sloppy Entrances
- Video: Rests as Elements of Expression
- Video: Rushing
- Video: Meter, Accents, and Perception
- Video: Rhythmic Compression
- Video: A Choral and Orchestral Perspective: Rhythm
- Video: Multi-Purpose Techniques
- Video: Rehearsal Demos: Bopping Part I
- Video: Rehearsal Demos: Bopping Part II
- Video: Rehearsal Demos: Using Singing
- Video: Rehearsal Demos: Slowing Down the Tempo for Rhythm and Accuracy
- Video: Rehearsal Demos: Slowing Down the Tempo for Intonation and Balance
- Video: Rehearsal Demos: Slowing Down the Tempo for Articulation and Style
- Video: Conclusion
- Peer Review: Peer Assessment
Graded: Module 3 Quiz
WEEK 4
Articulation, Balance, and Tone
Module 4 begins with perhaps the most crucial task a conductor undertakes: score study. Score study is the umbrella term for the process of thoroughly learning a score-- not just knowing how to sing the melody or memorizing phrases and meters--but learning every aspect of the music that may come to bear on our ability to interpret, conduct, rehearse, and perform it. Unlike many grammatical aspects of conducting, score study is a time-consuming, immersive activity for which it is normal to develop one’s own process, assuming the end result is a deep understanding of the work.
After score study, Module 4 moves back to the grammar of conducting, particularly technique for conducting articulations. Please note that this week also contains a very brief introduction to the three types of fermatas. In Module 5 we’ll cover them in detail. These are topics for which regular practice and self-evaluation will be necessary to develop gestures that are clear to the ensemble and second-nature to the conductor.
Finally, we will return to “The Rehearsal Toolkit” and explore strategies for rehearsing articulation, balance, and tone. This final topic includes a video on using the piano to demonstrate harmonies and other musical features to the ensemble. Particularly in educational settings, it is important for the conductor to do more than treat the ensemble as his personal musical instrument. Instead, find opportunities to lead ensembles to an understanding of the music it is performing, a goal that only score study makes possible.
28 videos
- Video: Score Study
- Video: Applying Your Score Study
- Video: A Choral and Orchestral Perspective: Score Study
- Video: Applying Score Study to a Rehearsal
- Video: Cues
- Video: Conducting Articulations: Legato
- Video: Conducting Articulations: Two Variations on Legato
- Video: Conducting Articulations: Staccato and Accents
- Video: Conducting Fermatas and Rubato
- Video: Specific Choral Conducting Techniques
- Video: Specific String Conducting Techniques
- Video: Review: Two Themes of the Course
- Video: Exaggerating Style and Expressive Details
- Video: The Vocabulary of Articulation
- Video: Articulation: Accentuation through Emphasis and De-Emphasis
- Video: Bopping for Articulation
- Video: Developing a Legato Style
- Video: 19th-Century Style with 21st-Century Ensembles
- Video: Additional Articulation Techniques
- Video: A Choral Perspective: Articulation and Diction
- Video: An Orchestral Perspective: String Articulation and Bowing
- Video: Balance and Tone
- Video: A Choral & Orchestral Perspective: Balance and Tone
- Video: Working with Dissonance
- Video: Using the Piano to Demonstrate Complex Harmonies
- Video: Where to Begin When You Don’t Know Where to Begin
- Video: Conclusion
Graded: Module 4 Quiz
WEEK 5
Phrasing
Module 5 begins with a discussion about score marking, a topic that is controversial by some ways of thinking. One school of thought suggests that scores should never be marked with cues and other information, since doing so reflects a deficit in score study on the piece. Another school believes that judicious marking enhances our efficiency in rehearsal and allows for better connection with the ensemble. This module also includes detailed explanations of the three types of fermatas that were introduced in Module 4: caesura, release-in-tempo, and continuation. It is worth spending extra time on these techniques, as the skills involved in preparing, sustaining, and releasing each one apply to a variety of conducting situations, including cues, rubato, and accompanimental conducting. For rehearsal strategies and the rehearsal toolkit our topics are phrasing and dynamics. As with many other topics in this class we can only touch the surface in terms of depth, but I hope there will be a few ideas to begin filling your rehearsal toolkit.
26 videos
- Video: Score Marking
- Video: An Orchestral Perspective: Score Marking
- Video: Caesura Fermatas
- Video: Release-in-Tempo Fermatas
- Video: Continuation Fermatas
- Video: Introduction to Phrasing
- Video: Conducting Phrases
- Video: Phrasing: Shaping a Melody
- Video: Shaping an Accompaniment
- Video: Four-Measure Phrases
- Video: Phrasing and Accentuating Rhythmic Accompaniment Lines
- Video: Trade-offs: Matching Style and Musicianship
- Video: Smoothing Melodic Leaps and Developing a Legato Sound
- Video: More Phrasing Ideas
- Video: Chamber Group Mentality within the Large Ensemble
- Video: Orchestral Perspective: Phrasing
- Video: Working on Dynamic Contrasts
- Video: Emphasizing Style and Dynamic Changes
- Video: Dynamics vs. Orchestration
- Video: Conservation of Dynamics: Creating the Illusion of a Longer Crescendo Through Micro Crescendos
- Video: Bringing Out Melodic Details: Contrapuntal Dynamics
- Video: Improving Crescendos and the Subito Piano
- Video: Refining the Fortepiano
- Video: A Choral and Orchestral Perspective: Dynamics
- Video: Conclusion
Graded: Module 5 Quiz
WEEK 6
Accompanimental Conducting and Intonation
Module 6 (our final week!) begins with a brief discussion about planning rehearsals, moves to techniques for accompanimental conducting, and then dips into the Rehearsal Toolkit for intonation strategies. The intonation section includes an introduction to overtones, harmonics, and temperaments. These are acoustic concepts for which at least a basic understanding is useful for knowing how to achieve good pitch. It’s a fascinating topic, and a great example of how we can apply science to art. The final few videos cover a miscellanea of rehearsal topics, including protecting one’s ears, the use of a podium, and set-up issues.
21 videos, 2 readings
- Video: Planning Rehearsals
- Video: Communicating the Rehearsal Plan to the Group
- Video: Using Recordings in Rehearsal
- Video: Accompanimental Conducting
- Video: An Orchestral Perspective: Accompanimental Conducting Issues
- Video: Additional Issues for Conducting Soloists: Float & Drop, Over-conducting!
- Video: Working with an Accompanist
- Video: Overtones, Temperaments, and Drones
- Video: General Tips for Improving Intonation
- Video: Addressing Intonation Issues
- Video: Additional Rehearsal Techniques for Improving Intonation: Part I
- Video: Additional Rehearsal Techniques for Improving Intonation: Part II
- Video: Additional Thoughts About Intonation
- Video: A Choral Perspective: Intonation
- Video: An Orchestral Perspective: Intonation
- Video: Set-up Strategies
- Video: Using Your Voice in Rehearsal
- Video: Health issues: Protecting Your Ears
- Video: Podium Talk
- Video: Conclusion
- Reading: Biographies
- Reading: Additional Resources
Graded: Module 6 Quiz
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Ratings and Reviews
I was music major - vocal performance - 20 years ago and didn't touch music for about 15 years until recently when I was tapped to be the MD for our local, 8-18 community musical theater program. Last year, I literally had to rely on the one conducting course I had taken 20 years ago to get me through conducting our reduced 12 piece orchestration. This course was just what I needed to get back on track.
The course is very well taught and it was actually enjoyable to complete each week. Having not been in academia for 20 years, I had forgotten just what types of questions would be on quizzes but I quickly was able to get back into the groove. I definitely recommend this course - it was clearly created with the intent of being as helpful as possible and it is easy to see the level of care taken to create something that is truly useful and yet very accessible. My ONLY disappointment (as this is my first online course) is that I sort-of feel like I know the professors now, but they have no idea who I am and never will.
Thank you for a wonderful course!
This is an excellent course. I conduct a children's choir, and this course really helped me learn a lot of principles and techniques for conducting. They do a great job of covering both choral conducting and instrumental ensemble conducting, which is great because even if you only do one or the other, there are many differences worth knowing! It has made me a better, more knowledgeable conductor. Highly recommend!
I really like the course and I am midway through. The professor simply dissects and dives into every single little thing you need to know about the rehearsing and conducting. One of really interesting ideas I learnt so far are macro-micro-macro which feels so natural once explained, but I am not sure if I would ever come up with it myself. The other interesting thing is 10 rules to assess the quality of a musical piece... Btw, I am not a conductor, neither am I going to be. I am just a decent amateur musician who is exploring the course.
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Great insight into conducti