This week we conversed on score study and selecting repertoire; both of which I do not get to do very often. After my readings I have a few topics which lingered all the way through my reading process. While they cover both subjects of the week, I think that may be more geared to score study.
The first topic: when is score study a hindrance? I have had access to the score of "Molly on the Shore" by Percy Grainger. If you have a kickin' high school band, this is a piece to play. Now, I have had ample time to delve into its intricacies (of which there are many). What I have been noticing is that I have become very critical of the recordings that I own. I do not like this feeling.
None of the recordings are bad, in fact they are very good and I love listening to them. But when I put on my Skull Candy ear phones, I am saddened by all the mistakes that I find. It is at this point where I feel bad that I have studied the score so much. Like, I know what I want to hear, and what I should hear, and when I don't I am let down or put off.
I am hoping that this is because I am noticing what I have studied and am making educated choices. But, when do I put my score down and say, that was a beautiful performance? I feel that since I have such a knowledge of the score that it is taking away from the piece that I love. When should I let go of the music and praise the ensemble for doing a wonderful job? It has been lingering in my mind since the reading. I understand how important it is to know your scores, but at what cost?
My next topic: chances to study score and have access to literature. As a student at Case I have many opportunities to play great literature, but not chose it. I see this as very detrimental to my education. I have been lucky to work with the marching band here at Case, and I have been doing some limited study and choosing, but I feel that it is not enough.
I guess my question is, how can I start to learn to read scores and choose repertoire? I really hope that I do not have to wait until I get a job, because I think that it would overwhelm me very much. So if anyone who reads this has any suggestions, please let me know, I would love the opportunity to sit down and work through some literature.
Third topic: a list of band piece please! So I have been searching, for my own edification, for a compilation of band works that fits certain criteria. I have found some wonderful material like Dr. Ciepluch's publication and an online guide. But, I think there should be something like a database. One that details the specifics of pieces and what they can teach your band.
From my experience, certain composers have strengths at writing for specific instruments and specific styles. Philip Sparke writes very emotional slow movements, and David Gillingham writes very nice percussion works for example. I think it would be wise for some band directors to get together and compile a database of the band literature and what function they best serve. I think that would be very handy.
Lastly: I want to vent about teaching this week. I do not know what I did, or what I did not do, but I felt horrible after my teaching this week. I am proud that I tried, I really am. I am proud that I tried to do so many new things in my lesson. I tried really hard to think of ways in which I could relay my concepts to the students, and how I could scaffold the information to make it more accessable to the students.
Unfortunately I felt like I crashed and burned. I remember a certain point in which I intrinsically gave up because I just did not want to keep beating a horse to death. For a lot of the lesson, I felt like I was being fought; like there was a struggle between some of the students and the material I wanted them to learn. And by the time I wanted to get to the important musical techniques in my piece, I had lost the students.
I guess the lesson was not all lost, I am just very new at this type of teaching. I mean I remember that the students played a phrase well out of context, but had trouble playing it in context. So, I achieved .5 of that goal. The students also played the rhythms in the variation well, so again, another positive. I wish that I did not lose as much control as I did.
Oh well, things to work on. Till next week!
Ian
Score study should never become a hindrance. Know that the ability of your group may create the same issues. Your recordings still have a high level of intrinsic enjoyment for you. You may see things in the score that you believe are critical to the performance and not hear them. That director had other thoughts. Maybe it was a recording/mixing issue.
ReplyDeleteAs a student, carefully make the request to see the score for pieces the group is rehearsing. Make note in your part about what else is happening in the ensemble. Are you hearing it? How can you encourage your section to play more musically?
The data base would be giant! It could be started as a networking tool and expanded by other teachers. (Use the TMTPIB books to help the process.)
Every teacher feels like they have run into the wall occasionally. This was your second day teaching. In this situation, you are not fully aware of what happened in the week since you saw them last. Your rapport with your own students will dictate a lot of what happens.
tk