Page 52 - CJMay2026

Rehearsal Break
R ehe arsal Br e ak

elements: duration, pitch, timbre, and intensity. Each and listening for separate elements such as articulation,
musical element contributes to the composite picture phrasing, linear direction, or rubato. Intensity, howev-
of the whole. The conductor’s ear has the capacity to er, serves dynamics, phrasing, and balance most sub-
hear all four elements at the same time. The mind has stantially.
the ability to focus selectively on one element at a time Turning the dial focuses the conductor’s auditory
and the capacity to assimilate information on all levels concentration on one element at a time. The capacity
simultaneously. to hear increases when the conductor’s full energy is
Each rehearsal presents a fresh opportunity to ex- focused like a laser beam, with total concentration on
pand the ear’s capacity. Concentration is the key. Con- each element, one by one. In this manner, and with
ductors who possess the capacity to concentrate reap repetition through rehearsals, a conductor can build an
the rewards of increased auditory perception and will acute degree of auditory perception. Conductors can
be able to identify information related to pitch, dura- also learn to hear on more than one level at the same
tion, timbre, and intensity more quickly, plus expand time and for longer periods, given accrued experience,
to expressive elements of dynamics, phrasing, articu- sufficient aural aptitude, and the ability to concentrate.
lation, and linear direction. As the ear improves, the One cannot listen too long, however, without for-
conductor’s and the singers’ abilities to evaluate this in- getting what one has heard. “Click off” in the brain
formation will be greatly enhanced. This provides the each element you would like to address as you mea-
conductors and the singers a tremendous amount of sure the choir’s sound against your mental-aural image.
knowledge around which to improve consistently. To avoid breaking the singers’ concentration, do not
stop to correct them until at least three or four specif-
Turning the Dial: A Tool for Accurate Listening ic “problems” have occurred. By vocal part, measure
Picture a dial. While the choir is singing, slowly turn numbers, and beat—in that order—describe what you
the dial and focus your concentration on one element want (positive). Compare it verbally against what the
of music at a time. Spend considerable time listening to choir did (negative) and describe what you want again
a single element—pitch, for example. While listening to (positive).
pitch accuracy, you will also hear: timbre and amplitude; Over time, this sequence will provide the choir with
thus, accuracy will become accurate in listening to into- positive incentives for change. If the “why” of what
nation, balance, dynamics, articulation, and phrasing. All of you want is clearly explained, you will have provided
these characteristics may enter into your assessment of the choir with substantial positive imaging to accom-
the choir’s pitch. plish your goals. This process enables the conductor to
Next, picture the dial and turn it to timbre. Vowels, motivate the choir to give meaningful aural life to the
color, sonority, and texture all are facets of timbre upon written composition while upholding and realizing the
which to concentrate. Next, listen for duration. This is composer’s sound image. And always remember, while
a complex activity, because duration will overlap with correcting specific aspects of a choir’s rendition, it will
pitch, timbre, and intensity. Specific aspects of listen- be important to affirm other aspects of their rendition
ing to duration will be inevitably linked to rhythmic that you like. It is particularly important to point out
accuracy, ensemble rhythm, tempo, metric structure, positive changes as they develop the tuning response
and the speed of harmonic rhythm. The expressive you are striving for.
elements—dynamics, phrasing, articulation, rubato, One can listen horizontally or vertically. Both types
and linear direction—will be served by duration and of listening open conductors’ ears to hearing duration,
intensity. pitch, timbre, and intensity. Thoroughly preparing
Now, turn the dial to intensity. Dynamics and color the score, and therefore your ear, serves as a memory
may leap into your ear; balance considerations may be- bell throughout rehearsal. More importantly, it is the
come immediately apparent. One may focus on each foundation upon which we organize the way we hear.
of the expressive elements of music by using “the dial” In rehearsal over time, through listening, measuring

50 CHORAL JOURNAL May 2026 Volume 66 Number 8