Conducting Phrases

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來自 The University of North Carolina at Chapel Hill 的課程

音乐合奏排练基础

232 個評分

The University of North Carolina at Chapel Hill

音乐合奏排练基础

232 個評分

Learn and practice the basic principles of running an effective music ensemble rehearsal. Techniques and strategies are applicable to a variety of ensembles, including bands, orchestras, choirs, and chamber groups.

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Phrasing

Module 5 begins with a discussion about score marking, a topic that is controversial by some ways of thinking. One school of thought suggests that scores should never be marked with cues and other information, since doing so reflects a deficit in score study on the piece. Another school believes that judicious marking enhances our efficiency in rehearsal and allows for better connection with the ensemble. This module also includes detailed explanations of the three types of fermatas that were introduced in Module 4: caesura, release-in-tempo, and continuation. It is worth spending extra time on these techniques, as the skills involved in preparing, sustaining, and releasing each one apply to a variety of conducting situations, including cues, rubato, and accompanimental conducting. For rehearsal strategies and the rehearsal toolkit our topics are phrasing and dynamics. As with many other topics in this class we can only touch the surface in terms of depth, but I hope there will be a few ideas to begin filling your rehearsal toolkit.

Introduction to Phrasing1:12

Conducting Phrases7:55

Phrasing: Shaping a Melody3:48

Shaping an Accompaniment3:57

Four-Measure Phrases15:57

Phrasing and Accentuating Rhythmic Accompaniment Lines3:52

Trade-offs: Matching Style and Musicianship2:35

與講師見面

Dr. Evan Feldman
Associate Professor & Wind Ensemble Conductor
Music

[MUSIC]

Before we figure out how to physical conduct a

phrase, we first have to know how a phrase goes.

Make sure that our physical conducting,

reflects our interpretation, and not vice versa.

We don't want to say well what a beautiful gesture, I'll make the music go like that.

So once we figure out how we want the music to sound.

Then we can make sure that our physical gestures reflect that.

A nice way to start conducting in phrases, with phrases, is to use

some of the same techniques that

we use for conducting crescendos and decrescendos.

So, for example, for a 4 measure phrase or a 2 measure phrase.

We might just show a gentle crescendo this way.

And a gentle decrescendo that way.

Same technique, palm up, goes out and up.

And then palm sort of flips over, and comes back and in.

So it might be,

[MUSIC]

We can do the same thing but keep the palm up the entire way through, so it might be

[MUSIC].

We're just gently tracing the shape of that phrase.

We can involve our right hand of course.

Now what we eventually want is true independence, so our right hand can go.

[MUSIC]

So the right hand is beating time, essentially.

And the right hand shapes that phrase.

At first you might get a little bit of a elevator

effect, that we had when we were doing crescendos and descrescendos.

[MUSIC]

It's not the worst think in the world.

You can still show a phrase this way.

You can see how my left hand is still tracing a shape.

But in general we want to, try to avoid just beating

while we're using our left hand for showing expression and phrases.

because then it's just mirroring.

And one way to practice that, is just as we were doing, a few minutes ago.

Is dropping the right hand, and just trying the

left hand independently and then introduce the right hand.

And it's something you have to practice slowly and eventually

you'll get that jitteriness, that elevator effect out of it.

We can also use the right hand to show phrasing.

And it does, in some ways, the same thing as the left hand

does except it would probably show more of a pattern as it does it.

So we might go,.

[MUSIC]

So as it gets stronger, I'm making more space, I'm pushing out

and up, and as it recedes, we get smaller, and into the body.

And some folks don't like the, the pushing out gesture.

They think that this 3D is not readable by a

large group, and you can experiment that for, for yourself.

So it might just get bigger as the phrase gets stronger.

And then, just gets smaller, and come maybe slightly closer to the body.

And they can mirror each other this way.

A few things to avoid, again, are just beating time all

the way through, because it's not showing a phrase at that point.

One example, I would say where it can use the

beat is to show and indicate the end of a phrase.

I often call that just landing on the phrase.

So we might say at the middle of this gesture.

In the middle of this phase, we were just singing.

[MUSIC]

You notice how I almost placed the middle

of that phrase on that downbeat, and it can

be a good way to shape the phrase in your head, to plan out, okay, where's it go?

It starts here,

[MUSIC]

There and then comes back.

And then lands there, then goes again.

And then lands at that spot after.

Just that's not the words to the tune, of course.

But if you can shape your phrase that way and know, okay, it's going to here.

And then you can make the gesture, imitate that.

And that's a good exercise to do in your score study anyway, to

figure out where the phrase begins, and then where does it go to.

Not just where it begins, but, the beginning and

ending point, and then our gesture just imitates that.

A few other things to think about, and in

terms of more subtlety is, it's often a good idea,

or at least a good exercise, to almost make

a graph of where you think that phrase should be.

It's a good way to get more subtlety in what your

left hand and right hand are doing in terms of phrasing.

To sing the melody, or listen to the melody, or play the melody,

and as you do it, trace almost on paper energy of the phrase.So,

[MUSIC]

Then it might get stronger.

[MUSIC]

And then once you trace that out, then all your

left hand is going to do is just mimic that shape.

[MUSIC]

And then you have a nice flexibility for your left hand instead of just

up and down all the time, we can get phrases that go this way.

And that have some elegance and shape to

them, that reflect what the phrase is doing.

Switching directions is going to be key here, because we can't keep going up.

And that's okay, if you keep going up, and you run, just retake

as if there was a bow, and start the phrase again, or change directions.

And that's where you can show beats, in terms of changing directions, on

[MUSIC]

So that's where I'm able to show beats on expressive parts in the rhythm.

A few other strategies in terms of just basic

phrasing issues, are our left hand sustain gesture is a

really handy one for showing phrases, and this is especially

true on showing things that go over the bar line.

Bar lines, as we've talked about in other videos, are often the

enemy of phrasing, because they look like a visual chopping off of sound.

And so, we might go,

[MUSIC]

That bar line can destroy that.

And so we want to encourage groups to play over that

bottom line to carry the phrase for longer periods of time.

And this gesture,

[MUSIC]

Just something as simple of that, and for us moving just

every so slightly can help carry them over the bottom line.

So can our right hand, so instead of giving a

very clear four of B3 what ever the meter is.

[MUSIC]

You notice I'm not doing

[MUSIC]

That active click and that energy on four will encourage

folks to use that bar line to chop up the sound.

But if I just float over it,

[MUSIC]

Floating over that bar line and placing the phrase to continue on

to the next down beat is a good way to do it.

A lot of this just takes practice, but make sure you figure out

what you want first, and then we can translate it into a physical gesture.

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