Course: Fundamentals of Rehearsing Music Ensembles
Modules:
Introduction, What Do We Do in Rehearsals?, What Skills Do We Need?, Calibrating Your Ears, Serving as the Composer’s Advocate, A Choral Perspective: The Rehearsal Process, An Orchestral Perspective: Three Categories of Conducting, Introduction to Conducting, Basic Set-Up, Conducting without a Baton, Baton Grip, Basic Patterns, Active and Passive Beats, Starting Pieces, Ending Pieces, The Ensembles that Appear in this Course, Macro-Micro-Macro: The Basic Process, Examples of Macro-Micro-Macro: Breaking Things Down, A Choral Perspective: Teaching Notes, Rehearsal Demos: Macro-Micro-Macro, Conclusion
Introduction, Finding Quality, Choosing Repertoire: The Musical Meal, A Choral and Orchestral Perspective: Repertoire, Count-offs: Additional Ways to Begin a Piece, Rehearsal Examples: Starting on Various Beats within a Measure, Stopping the Group, Changing the Size of the Pattern Based on the Music, Introduction to Rehearsal Segments, Directing People's Attention in Rehearsal, Who, Where, What / Measure Numbers / "Count with Me", Using "I" and "We", Insisting on What You Want, Strategies for Communicating Musical Ideas, Communicating with Various Modes of Instruction, A Choral and Orchestral Perspective (Multiple Topics), Conclusion
Introduction, Introduction to Left Hand Technique: Statue and Mirroring, More Left Hand Technique: Statue, Mirroring, and Independence, Demos of the Left Hand in Rehearsal, Showing Dynamics and Dynamic Changes, The Importance of Technique as a Foundation, The Rehearsal Toolkit: Rhythm, Teaching Subdivision: Filling in the Rests, Thinking in Rhythmic Subdivisions, “Playing” without Sound: Active Resting and Handoffs, Working with Contrasting Rhythmic Layers, Cleaning Up Sloppy Entrances, Rests as Elements of Expression, Rushing, Meter, Accents, and Perception, Rhythmic Compression, A Choral and Orchestral Perspective: Rhythm, Multi-Purpose Techniques, Rehearsal Demos: Bopping Part I, Rehearsal Demos: Bopping Part II, Rehearsal Demos: Using Singing, Rehearsal Demos: Slowing Down the Tempo for Rhythm and Accuracy, Rehearsal Demos: Slowing Down the Tempo for Intonation and Balance, Rehearsal Demos: Slowing Down the Tempo for Articulation and Style, Conclusion
Introduction, Score Study, Applying Your Score Study, A Choral and Orchestral Perspective: Score Study, Applying Score Study to a Rehearsal, Cues, Conducting Articulations: Legato, Conducting Articulations: Two Variations on Legato, Conducting Articulations: Staccato and Accents, Conducting Fermatas and Rubato, Specific Choral Conducting Techniques, Specific String Conducting Techniques, Review: Two Themes of the Course, Exaggerating Style and Expressive Details, The Vocabulary of Articulation, Articulation: Accentuation through Emphasis and De-Emphasis, Bopping for Articulation, Developing a Legato Style, 19th-Century Style with 21st-Century Ensembles, Additional Articulation Techniques, A Choral Perspective: Articulation and Diction, An Orchestral Perspective: String Articulation and Bowing, Balance and Tone, A Choral & Orchestral Perspective: Balance and Tone, Working with Dissonance, Using the Piano to Demonstrate Complex Harmonies, Where to Begin When You Don’t Know Where to Begin, Conclusion
Introduction, Score Marking, An Orchestral Perspective: Score Marking, Caesura Fermatas, Release-in-Tempo Fermatas, Continuation Fermatas, Introduction to Phrasing, Conducting Phrases, Phrasing: Shaping a Melody, Shaping an Accompaniment, Four-Measure Phrases, Phrasing and Accentuating Rhythmic Accompaniment Lines, Trade-offs:  Matching Style and Musicianship, Smoothing Melodic Leaps and Developing a Legato Sound, More Phrasing Ideas, Chamber Group Mentality within the Large Ensemble, Orchestral Perspective: Phrasing, Working on Dynamic Contrasts, Emphasizing Style and Dynamic Changes, Dynamics vs. Orchestration, Conservation of Dynamics: Creating the Illusion of a Longer Crescendo Through Micro Crescendos, Bringing Out Melodic Details: Contrapuntal Dynamics, Improving Crescendos and the Subito Piano, Refining the Fortepiano, A Choral and Orchestral Perspective: Dynamics, Conclusion
Introduction, Planning Rehearsals, Communicating the Rehearsal Plan to the Group, Using Recordings in Rehearsal, Accompanimental Conducting, An Orchestral Perspective: Accompanimental Conducting Issues, Additional Issues for Conducting Soloists: Float & Drop, Over-conducting!, Working with an Accompanist, Overtones, Temperaments, and Drones, General Tips for Improving Intonation, Addressing Intonation Issues, Additional Rehearsal Techniques for Improving Intonation: Part I, Additional Rehearsal Techniques for Improving Intonation: Part II, Additional Thoughts About Intonation, A Choral Perspective: Intonation, An Orchestral Perspective: Intonation, Set-up Strategies, Using Your Voice in Rehearsal, Health issues: Protecting Your Ears, Podium Talk, Conclusion