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R  ehe   arsal Br    e ak
                                                                             Rehearsal Break





        conductors assume and hope is happening in their en-  • Are we conducting singers or the music?
        sembles. Does it work with 65-100 performers? Could
        we  learn and  apply observing  and  “cooperative  per-  • Is the ensemble responding to our gesture and guid-
        forming” with conducted choirs? The answers may be      ance?
        a little more complex because they rely on our singers
        possessing and mastering foundational skills, including:   • How do we acknowledge their progress and achieve-
                                                                ment and help with this skill transfer?
           • Counting and subdivisions


           • Interval accuracy                                      Strategies for Heuristic Learning
                                                              The rest of this article is devoted to seven strategies/
           • Basic or advanced intonation skills            exercises for helping your choir develop internal time-
                                                            keeping skills.
           • Listening and balance between sections
                                                            Doing Things “Wrong”
           These skills are often best addressed in the magic   When I work with choirs regarding centering pitch, I
        month of “Septober.” Settling and building individual   ask them to do the following:
        competence in the first six to eight weeks prevents hav-
        ing to revisit and waste rehearsal time in February or   1) Sing the first complete phrase of “My Country ‘Tis
        March. Building and affirming skill mastery early is key   of Thee” in tune (that is usually the norm).
        to ensemble cohesion going forward, allowing conduct-
        ing of other artistic considerations. Going further, the   2) Sing the phrase a little flat. I usually use simple block
        conductor might consider these larger questions:      chords  to  accompany them, so they are  aware  of


         Example 1. How String Quartets Stay Together




                              Autocratic quartet                    Democratic quartet
                                       2                                     2
                         Violin                  Viola         Violin                  Viola
                            2                                    2









                         Violin                  Cello         Violin                  Cello
                           1                                     1



                  In a more autocratic quartet (left), violin 1 tended to influence the timing of other players more than she was
                    influenced herself. Arrows show the influence that one player (arrow tail) has over another (arrow head).
         A.M. WING ET AL, ADAPTED BY M. ATAROD




        62      CHORAL JOURNAL  November/December  2024                                        Volume 65  Number 4
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