Rehearsal Stategies (Part 1)

The music is in order and in the folders. You've practiced your craft and marked your scores. The Instrumentalists will be arriving soon with the expectation of a good, quality rehearsal. You are prayed up. What else can be done?

Knowing how to rehearse each piece of music is key in maintaining a quality and diverse rehearsal. Balance these strategies in your rehearsal. One method of rehearsing will not work effectively on every piece. If you do, you run the risk of a very predictable and (often) monotonous rehearsal.

Here we go:

The "Segmented - Reverse" Strategy: How many times do we work on the beginning of a piece with diligence...run out of time and never get to the end of that piece? This approach helps you to work through the piece a section at a time...beginning with the end. This method works well with arrangements you have read a few times but still need to woodshed. Divide the piece by key changes, time changes, transitions and/or phrases. Mark those "break" points and start on the last section and play to the end. Repeat that sequence until you have played through each section. You can vary the sequence by playing two sections together, etc. The "Segmented - Reverse" works well during the middle to the end of your rehearsal as your players are more focused on the task at hand. Note: Always read the piece through after you have broken it apart.

The "Hit It As You Get To It" Approach: This is the most common of practices. You start at the beginning and play straight through or until it falls apart. fix the spot, restart at that spot and continue until you are through (or until it falls apart)...and so forth. This method does have validity! Use it when time is short or when you anticipate that your group will be able to play through it (correct notes and rhythm) with little or no trouble. You can also use this method when reading a piece for the first time. When sight reading a piece with my group, I use a modified version called the "50%" rule. If 50% of those who are supposed to be playing are keeping up and playing well, continue through the piece. If it's less... stop... fix the problem and move on from there.

Rehearsal Stategies (Part 2)

Before we move on to the last group of strategies, let me bring a word concerning fixing mistakes by individual players or sections. Try as best as best you cannot to single out an individual. Speak to the entire section. Musicians have "off" days and make mistakes. Many times, it is a lack of concentration...brought on by their activities (many times stressful) during the day. 99% of the time players know when they are wrong (and so do the players around them). Don't dwell there too long. Let the rest of the section or section leader help. Of course, if there is only one person in the section, it will be obvious who is making mistakes. Address those issues after rehearsal or during a break in rehearsal. If you must address a problem with one player during your rehearsal, be sensitive as to how far you can go. Always approach them with warmth and calmness (watch out for the tone of your voice). Complement them when they do it correctly. Knowing your players and their personalities will pay big dividends at moments like this!

Here are three more approaches you can use to get the most out of your valuable rehearsal time:

The "Anticipated Problem" Strategy: Use this method when you can identify only a few problem spots in a piece. You must know the score well enough (and your group well enough) to pick the spots. Start with these spots first, working out the technical problems (rhythm, intonation). Then put it back together.

The "Highlighted Section" Approach: This method is best used with music that is familiar with your group, either playing it recently or many times in the past. If you do not have time to read through a piece, use this method. Its similar to the "Anticipated Problem" method without putting the song back together after brushing up on the spots.

Sectional Rehearsals: These are so valuable! This involves utilizing your section leaders to work their players on specific issues in their music. Of course, the number of leadership you have that can carry out the task (and that you trust) will determine the size of each group. This can be a great time saver, especially before presentation times (Christmas, Easter, Patriotic). You do not have to dedicate your entire rehearsal to the sectionals. Start together...then break into sectionals and come back together to finish. It will be worth it!

Rehearsal Stategies (Part 3)

Let's talk a minute about the spirit of your rehearsal. Preparing your heart for your rehearsal is critical. Jesus, in Matthew 15:18, speaks about the things that come out of our mouth coming directly from the heart. If we do not have a quiet time with the Lord every day, if we are not studying His word and becoming more like Him, we stand the chance of not connecting to the "lifeline" we need to function as a believer in this world. The condition of your heart will transfer into your rehearsal as well. If your heart is clean, if you are walking close to the Lord, the spirit of your rehearsal will change. The spirit of what you say lasts a long time, not necessarily what you say.

The spirit of your rehearsal is a reflection of your walk with the Lord. Your walk, whether close or far, will impact your players positively or negatively. You will know by the way they respond to each other (and you) what you are communicating to them. Your players will do much more for love than obligation; That is, love for you as their spiritual leader, knowing that you are walking close to the Lord and their love for the Lord and His work.

Rehearsal Stategies (Part 4)

Always treat your players with respect. You've seen the pictures of the director (or "tyrant") who is barking orders (and sometimes obscenities) to his musicians. Never one kind word...only criticism and demeaning words. Maybe you've had someone like that in your previous instrumental history. I saw a video of a wind ensemble clinician who demeaned a high school trumpet player for not playing concert Bb (tuning note) in tune. The clinician used a trick question to demean the rest of the group and then continued to spew his venom on the out-of-tune trumpet player, who must have (by now) wanted to crawl out the room.

Compare this to the great conductor, Leonard Bernstein. His demeanor with the New York Philharmonic, considered by many as the world's best orchestra at that time, was the polar opposite of the tyrant director. Watching a video of a rehearsal with Bernstein conducting the Philharmonic showed how to get what you want from your players without anger and temper tantrums. Although Bernstein's lifestyle was not a morally pure lifestyle, we can learn an important lesson from him in working with instrumentalists. You don't have to be a tyrant to get more out your group. Kindness is the key word!

Make sure you have a healthy balance between ministry achievement and musical
achievement. If all your group does is rehearse and play, your group is out-of-balance. You must inject some form of ministry to your program to bring balance back to the center. Always have some form of spiritual emphasis in your rehearsal, even if it's only a praise/prayer time. Your players (and you) can better minister when they know there is a need. Make sure your players are involved in a regular Bible study class for their personal growth and fellowship. Encourage your players to go on short-term mission trips, with or without their instruments. Use your instrumental ensembles for outreach at community centers and nursing homes to reach people for Christ.