Poor rehearsal techniques are a scourge on groups of all types. My primary teacher Daniel Barenboim is the inspiration for most of these. Some are specifically for strings and others are general. To rehearse efficiently and effectively is hard work, requiring a lot of time and thought.
Rehearsal Techniques
Bottom Octave more
Unifying strokes
From the string arco and pizz. This is the way every passage begins except jeté –
per Cleveland and the Boston orchestras
Choreography of the bow and pizz.
Comment about the height of the hand and arm after arco and pizz. –
too high, rhythm is compromised and theatrics from audience
Rehearse slowly and SOFTLY so you can hear
Fundamental Principles
Eliminate approval error
a. The problem with liking everything is that it becomes meaningless to like anything.
Don't replace reality with being "polite".
“Let’s do it again” [repeated tuttis] Why?
Improvising the rehearsal agenda
a. mismanaging the time; forgetting the big picture
A musical point of view for every note [analysis]
a. melody, harmony or rhythm
Vague instructions
a. For example: “play together”, “this is not good enough”, “look at the pitch there”,
“this needs to be better in tune”, “for intonation’s sake, let’s do it again”, “use your ear!”.
Teacher Modeling
a. punctuality
b. condition of the rehearsal space
c. admitting your errors
d. no ad hominem remarks; mutual respect
e. rehearsal schedules organized and reliable
Musician Modeling
a. demonstrate and have others imitate
Chamber music aesthetic (contrasted with conductor-dependent)
Constructive comments
a. In all rehearsals, aspire to 80% contingent positive comments and 20% contingent criticisms
Specific Principles
1. Intonation
a. to whom do we tune?
b. lower octaves
c. vibrato (prime unison)
d. dissonance
e. just-diatonic/equal tempered
2. Phrasing
a. harmonic analysis
b. non-chordal tones
c. repetition
d. change in rhythmic subdivision
e. cantabile: vibrato on the LITTLE notes
f. Sound in Motion: A Performer’s Guide to Musical Expression, David McGill
3. Balance of chords (i.e. how many roots, 3rds, 5ths, 7ths, etc.)
4. Deconstruction of the score (i.e. rehearse parts which are the same pitch
and rhythm and those with just the same rhythm.)
5. Rhythmic dissonance (e.g. 2 against 3)
Cliff Colnot is a conductor and arranger. He has conducted the Civic Orchestra for 22 years, Contempo at the University of Chicago for 15 years and is the principal conductor of the CSO 's new music ensemble MusicNOW. He also coaches chamber music, and conducts the symphony orchestra and wind ensemble at DePaul University. He has arranged music for Daniel Barenboim, Richard Marx, Phil Ramone and David Bloom, among others.
