Posted by Rick Denney on July 17, 2003 at 20:01:14:
In Reply to: Re: Good Conductor's rehearsals? posted by MP on July 17, 2003 at 16:27:50:
Firstly, a good conductor knows what he wants. Specifically, he studies the score (BEFORE rehearsal), listens to recordings, and develops a musical concept of the work (again, BEFORE rehearsal). This doesn't apply to reading sessions where we are all expecting to make discoveries rather than progress.
A good conductor knows how to tell us what he wants. Some of this may require talk, though I'm sure there are conductor purists out there who think that shows a lack of technique. He will practice conducting the work so that he knows how he will direct what, just as we practice our music so that we know where to breathe, how to phrase, what buttons to push, and so on.
A good conductor is a salesman for great music, by walking in the door with great music under his arm and lots of positive enthusiasm for it.
The best way to raise the standards of any group is to challenge it with music that is just beyond its ability, and then to cajole the musicians into taking it on. This cajoling requires compliments (I KNOW you guys can play this) and vision (Imagine how good it will feel if we pull this one off...).
The good conductor will praise the praiseworthy, commiserate with those who screw up by accident, and ignore those who are not doing their best or otherwise show that they don't care. A good conductor will suggest how the good can be better, rather than how the bad can be less bad, no matter what he privately thinks. False praise, however, is patronizing and therefore insulting. Adult amateur musicians in particular are more likely to be insecure about their playing. But a good conductor will look for things to praise, and build on that warm glow of legitimate accomplishment with suggestions for improving the things that aren't so good.
Ignoring those who don't care is the best course, because eventually they will feel left out and find another group. Their departure may leave a hole in instrumentation, but it will still improve the group. A good conductor will always work with those who are legitimately trying to do their best--these people nearly always rise to the standard of the group and will also be careful to do no harm.
A good conductor will expect the very best the group can provide, but not demand any more than that. A good conductor will practice listening enough to know the difference.
A good conductor of a community group will value commitment over musical ability, because committed people usually improve musically, while good musicians who aren't committed will leave a the first opportunity to improve their musical experience.
A good conductor will lead by example: If he wants the musicians to take the music seriously, he should take it seriously. If he wants the musicians to take the rehearsal seriously, he should take it seriously. If he wants people to lighten up, he should lighten up, etc. I'm amazed at how often some conductors side with the musicians against the composer, which undermines anyone's commitment to making music of a difficult work. And I'm amazed at how some conductors complain that everone talks when he stops the music, when he himself carries on little side conversations with the principals or the players on the front row. And then there are conductors who want the music to be light and bouncy, but conduct it with arm movements appropriate for a grand dirge.
Of these, bringing good music to rehearsal and being prepared to conduct it is probably the most important for the improvement of a group.
Rick "who isn't sure he knows any conductor with ALL these qualities" Denney