When asked, “What are the three most important characteristics that a conductor possesses?” research tells us enthusiasm (26%), confidence (21%), and authority (17%) are the traits most highly valued by our singers.
As we enter our fall rehearsal schedules and start ramping up again with a fresh beginning, why not do an extreme makeover for your rehearsal style that emphasizes these traits? Expectations are high in the fall, so it is a good time to meet or exceed them. The following ideas could be helpful toward such a makeover:
- If you are in a new ensemble setting, take a video camera to the rehearsal to film everyone saying their name and “one unforgettable thing" you should know about them, so you can memorize names and capture a little of their personality by the next rehearsal. This demonstrates your desire to get to know the singers. Then, do it. Work with a chart at your first rehearsal and the following rehearsals if necessary to aid your memory. This may be the most important thing that you do in your first days with any new ensemble. Nothing is more important than knowing the names of the performers. This is work, but it is important work. I have made this the top priority of every new setting I am in. People love nothing more than hearing their own name.
- Project or distribute a detailed, complete rehearsal plan at the start of the rehearsal to show the ensemble you are extremely organized and have a plan. The point of giving your plan to the ensemble is so they will see what you have been thinking about, and what details you are going to work on in this rehearsal. The discipline is good for you, and the respect for your work ethic, along with your prompting, will encourage the ensemble to make the markings you have outlined on the rehearsal plan during the times in the rehearsal you are working with other sections. No ensemble respects disorganization. In fact, nothing undoes them like an unorganized leader. In fact, in your makeover, organize everything in the rehearsal room that can be organized, and insist this is your new style. Communicate organization. As performers begin talking about your new look, don’t be happy until you hear the comments coming back to you that you are the most organized person they have ever seen.
- Prepare a new component such as a projected outline of the next program, a short demo of a piece of music you intend to program, or a unique way of making announcements, to show the choir that along with your detailed rehearsal plan, you are in control of the present and future plans. Your ensemble has the need to be certain you are the authority, and that you intend to kindly use authority for the good of the ensemble. By planning a new component to the rehearsal, you show that you are the architect for the rehearsal hour.
- Do not do anything in the rehearsal that is not written out for the ensemble, so that they see you are a communicator as well as a planner. Either project the information, hand it out, or put lists on the wall if that is the best you can do, but the point is to use whatever methods are available to demonstrate as many layers of written communication as possible. Make the ensemble believe you are the best communicator in the world. If you have a website, Facebook page, or whatever, make it a part of your rehearsal outline routine, and further, have the material on that site just before the "real time" rehearsal begins so you can refer to it during rehearsal for later reference.
- Work through everything on your rehearsal sheet that you handed out to the ensemble to show you are calm, ordered, and that order is something they too can calmly anticipate. There is something about having these markings and musical desires written down that will keep anyone from saying, “we didn’t do it that way before.” And, like a map, they signal there is a path to where you want to go. The rehearsal sheet brings another level of authority to the rehearsal for you, and working through all of the items on the list demonstrates careful planning.
- Document the traditions, the logistic requirements for performances, and other routines to which the ensemble is accustomed, and have those written out and placed on an announcement board. You can tell the ensemble you want all newcomers to be familiar with these procedures, but the reality is they will also underscore the same procedures for veterans, and for you to remember as well. Verbal announcements are okay, but be sure they are also written out on a rehearsal sheet. If you can have the next performance list ready, hand it out for them to see during the rehearsal. All this writing will demonstrate to the ensemble how much you care about communication.
- Memorize the music you are working on for the rehearsal, and rarely look down at the score so that you can look your ensemble members in the eye as you convey your passion for the music. Be prepared, demonstrate that you are prepared, and build their trust in you as someone that is prepared and wants to communicate. Every time we look at the music, we communicate some degree of insecurity to the choir, no matter how subtle the look is. In contrast, if you never look down, you may never communicate insecurity. What you want to communicate is authority. If memorization is not possible in the early rehearsals, choose music you know very well for the first rehearsal to aid in your ability to look up.
- Plan for one surprise in the rehearsal as a moment of “planned spontaneity” to show the ensemble what they can look forward to each week as a part of your style of leadership. For example, introduce your family to the ensemble; do something comical that no one knows you can do; give away ice cream coupons to everyone that is on tome; read a note from a former director that introduces you to the ensemble. One activity I planned for such a first rehearsal was to read a message from the composer of one of the pieces we were rehearsing. This was a simple process to achieve. I simply emailed a note to the composer asking for a few words about the piece. It was no problem for the composer to send a few sentences back to me electronically, with a couple of personal words to the ensemble.
Built upon a solid core of musicianship, the effective conductor establishes a foundation of enthusiasm, confidence, and authority, and also works to further create an atmosphere of honesty, transparency, encouragement, and friendship, all within an ensemble environment that intensely pursues the shared task of musical accomplishment and the pursuit of perfection.
Marie Grass Amenta says
Tim Sharp says
Gary Weidenaar says
Robert Eaton says
“The most important thing about performing is to make magic, to make a special moment in time. The whole process … is never about proving something but about sharing something.”
Yo Yo Ma
Jennifer Whiting says