From the Ivory Tower to the Trenches: Score Study and Rehearsal Preparation

Chip De Stefano and Matthew Temple
2018 National Band Association/Illinois Grade School Music Association Band Director Workshop

Introduction (Matt)

BATTISTI QUOTE: “Because of having too much time, some conductors learn the music in rehearsal. They don’t study because they don’t think they need to. True professionals prepare because they have integrity.” – Frank Battisti, Rehearsing the Band (Chip)
When I think back on my career this far, I almost divide it into two halves.
- Early – sense of will. Not sustainable, and a limit to what we could accomplish
- Late – more systematic and planful, more efficient with greater carryover from piece to piece, year to year.
How could I reduce the bottom half of the iceberg without affecting the part above water. (or even making it better)
The way I prepare for rehearsals, is one of the more significant changes I made. And when developing this session, it really seemed to me that it needed an additional voice, I thought of Matt…we’re about the same age, both have seen some success…and was instantly intrigued to see what was similar and different between our approach
Why have we been successful here? How can it be replicated to help other programs and directors? How can it be replicated so that my successor here finds success and continues to grow and build the program after we’re gone…because we credit a good deal of that success to how we approach our preparation

As taught typically in college: developing an aural image of what the piece should sound like.
Analyzation: Form, harmony, motivic developmen
Annotating the score: Colored pencils, post-its, cues, etc…
Batissti Method:

Creating long term goals, short term goals and rehearsal plans
Anticipating problems, and the best way to fix them.
Developing “warm-up” exercises to work on the anticipated problems away from the repertoire.
Anthony Maiello: Asking questions. Why did the composer….? (CMP)

How many feel as if we have too much rehearsal time? Regardless of the amount, we must maximize our time with students. This can’t be done if learning and teaching the piece at the same time.
We should never tolerate our students using rehearsal to learn their parts, and we should not tolerate it in ourselves either.
Students are a reflection of their teacher. They will never prepare more for rehearsal than you prepare for rehearsal.
The conductor should never be the limiting factor of the group.

Background Information
- Life and times of the composer
- History of the music (ex. On a Hymnsong of Phillip Bliss)
Music Theory
- Not simply the foreign terms included in the work – this is only a first step
- What compositional devices are used? (pedal point, cadences, suspensions, etc.
- How does the composer exercise their craft in unique ways
- What can students learn through this piece perhaps better than any other piece?
Elements of Music: Melody, Rhythm, Form, Harmony, Texture, Timbre, Expressive
- Which of these is more/most critical to the piece?
- Phrasing (breath marks!)
- Overall Dynamic structure
- Articulation markings
Instrument Pedagogy
- Technical challenges
- Range considerations
- Intonation
- Balance/Scoring
- Percussion
  - Number of players required per piece
  - Part assignments
  - Add parts so everyone plays
  - Instruments and mallets needed – tonal choices
Determining best way to introduce work to students
- Read it down from beginning
- Play recording
- Start at “best” part/where majority of ensemble plays

Developing Warm-ups/Exercises (Chip)
- Tonal centers
- Practice Sheets
- Rhythmic patterns
- Percussion involvement
Where to start in the piece? (Matt)
- Beginning, end, bookends, challenging parts, etc.
- Transitions (gear shifts)
- Boonshaft: grading each section
Full rehearsal or sectionals? When is it most appropriate? (Matt)
- Know the score well enough to rehearse individual sections with everyone playing (Chip)
Working with soloists (Matt)
Unique ideas (Matt)
- Kill two birds (or more!) with one stone
- Dealer’s Choice (Students determine rehearsal priorities)
Recordings (Chip)
- Post online (Google drive, SmartMusic, Flipgrid) (Chip)
- Listen back in class; discuss as class and/or top five (Both)
- Provide rehearsal notes from director (macro vs. micro) (Both, with sample recordings)
- Comparing against professional recordings (Chip)