Here are excerpts from the chapter Get Them Watching from: Igniting Response (to our conducting), Publication: Spring 2017
Gestures get lots of attention, but teaching young musicians the skill of watching generally doesn't. To me, this doesn't make sense since gestures won't - actually, can't - be followed unless they're watched. That's why I've written this chapter on how to teach the technique of watching.
I googled "How to teach music students to watch their conductor" (and several variations).
4,430,000 hits in 0.48 seconds - AND NOT ONE TELLING HOW TO TEACH YOUNG MUSIC STUDENTS TO WATCH!
I did a search on YouTube for the same: 120,000 hits: AND NOT ONE TELLING HOW TO TEACH YOUNG MUSIC STUDENTS TO WATCH!
Yet teaching their students to watch them is the top subject my workshop participants want addressed at my professional development workshops. Good thing publication of Igniting Response (to our conducting) is right around the corner!
Creating an ensemble culture of watching increases young musicians' attention and involvement, and raises the quality of their music making dramatically. Just as important: We're often frustrated that what we're conducting and what they're playing or singing aren't related in the way we want (and sometimes, not at all). Getting them to watch - and then to follow our gestures - can go a long way to reducing our frustration and increasing our own satisfaction.
I googled "How to teach music students to watch their conductor" (and several variations).
4,430,000 hits in 0.48 seconds - AND NOT ONE TELLING HOW TO TEACH YOUNG MUSIC STUDENTS TO WATCH!
I did a search on YouTube for the same: 120,000 hits: AND NOT ONE TELLING HOW TO TEACH YOUNG MUSIC STUDENTS TO WATCH!
Yet teaching their students to watch them is the top subject my workshop participants want addressed at my professional development workshops. Good thing publication of Igniting Response (to our conducting) is right around the corner!
Creating an ensemble culture of watching increases young musicians' attention and involvement, and raises the quality of their music making dramatically. Just as important: We're often frustrated that what we're conducting and what they're playing or singing aren't related in the way we want (and sometimes, not at all). Getting them to watch - and then to follow our gestures - can go a long way to reducing our frustration and increasing our own satisfaction.
|
Will our young musicians watch and follow our gestures if this is what they see when they look up? Our maestro may be busy "conducting," but he certainly isn't igniting much response in his young musicians.
To deliver the kind of peak experiences that led us to go into music, we must be clear, alive, and inspiring to look at. Our gestures must be expressive, varied, and heartfelt. If we merely conduct the beat pattern, they won't watch (and rightly so). |
|
To help apply the suggestions that follow on How to Get Them to Watch, we first need to understand that:
Young musicians are afraid of looking up and making a mistake or losing their place. This = feeling bad.
The emphasis when young musicians begin studying is usually on correct execution. Looking hard at the printed page to get the notes and rhythms right, feel good, earn their teachers' smiles, and feel good about themselves...was the priority.
Now in an ensemble, these students are told to look up from their "lifeline" - an enormous risk - without knowing exactly why. Few are willing; they don't want to feel bad - or be reprimanded - for making a mistake. Since they may not understand the director's gestures, haven't experienced the musical benefits of looking up, and aren't taught the technique of watching - they frequently don't.
After all, how many adults would risk feeling bad about themselves or being reprimanded in front of their friends to do something whose value wasn't clear?
We must be worth watching...worth their taking the risk
When they look up, they must see us looking up, too. They must see gestures that are expressive and look like we want the music to sound. They must see gestures that are clear, well-prepared, easily seen, and easily understood. They'll appreciate nods and smiles of encouragement, and they want to know that we see that they are watching. And they want to experience how much better the music sounds and how much more fun it is to watch.
Underlying all this is that watching brings students out of their heads and into the present moment - into the Now - and that's where life is happening.
Students need to be taught how to watch
Although we may not have thought of it, watching is a skill that, like other skills, must be taught, learned, and practiced. As we know, telling our students to "watch us" just doesn't work because it can't; it's like telling a student to play in F# major when s/he's still working on G.
Students understand that tuning and warming up is important because we do it at every rehearsal. Not working on watching sends the message to students that it's not important and, consciously or not, they'll understand. If that's the case, we shouldn't be upset that we're not being watched, since, by not working on watching, we've "told" the students it's not important.
This is a good example of how we may be (unconsciously) training
our students to do the opposite of what we want.
As professional performers, we know the necessity of watching; few of us would go to a rehearsal or concert and not watch. Since we've personally experienced the importance of watching, why wouldn't we insist on in with our ensembles?
They must experience the payoffs for watching
We must also deliver the benefits of watching and following our gestures. At their best, those benefits include: the memorable feeling of being one with the ensemble - in a state of "flow;" the unforgettable experience of feeling like the ensemble is composing the music while playing it; and the timeless joy of living in the moment.
Of course, when we're able to ignite those responses in our students (that's the purpose of this book), then we, too, will experience the peak moments we hoped we would create when we became music teachers!
Young musicians are afraid of looking up and making a mistake or losing their place. This = feeling bad.
The emphasis when young musicians begin studying is usually on correct execution. Looking hard at the printed page to get the notes and rhythms right, feel good, earn their teachers' smiles, and feel good about themselves...was the priority.
Now in an ensemble, these students are told to look up from their "lifeline" - an enormous risk - without knowing exactly why. Few are willing; they don't want to feel bad - or be reprimanded - for making a mistake. Since they may not understand the director's gestures, haven't experienced the musical benefits of looking up, and aren't taught the technique of watching - they frequently don't.
After all, how many adults would risk feeling bad about themselves or being reprimanded in front of their friends to do something whose value wasn't clear?
We must be worth watching...worth their taking the risk
When they look up, they must see us looking up, too. They must see gestures that are expressive and look like we want the music to sound. They must see gestures that are clear, well-prepared, easily seen, and easily understood. They'll appreciate nods and smiles of encouragement, and they want to know that we see that they are watching. And they want to experience how much better the music sounds and how much more fun it is to watch.
Underlying all this is that watching brings students out of their heads and into the present moment - into the Now - and that's where life is happening.
Students need to be taught how to watch
Although we may not have thought of it, watching is a skill that, like other skills, must be taught, learned, and practiced. As we know, telling our students to "watch us" just doesn't work because it can't; it's like telling a student to play in F# major when s/he's still working on G.
Students understand that tuning and warming up is important because we do it at every rehearsal. Not working on watching sends the message to students that it's not important and, consciously or not, they'll understand. If that's the case, we shouldn't be upset that we're not being watched, since, by not working on watching, we've "told" the students it's not important.
This is a good example of how we may be (unconsciously) training
our students to do the opposite of what we want.
As professional performers, we know the necessity of watching; few of us would go to a rehearsal or concert and not watch. Since we've personally experienced the importance of watching, why wouldn't we insist on in with our ensembles?
They must experience the payoffs for watching
We must also deliver the benefits of watching and following our gestures. At their best, those benefits include: the memorable feeling of being one with the ensemble - in a state of "flow;" the unforgettable experience of feeling like the ensemble is composing the music while playing it; and the timeless joy of living in the moment.
Of course, when we're able to ignite those responses in our students (that's the purpose of this book), then we, too, will experience the peak moments we hoped we would create when we became music teachers!
TEACHING THE SKILL OF WATCHING
Getting Ourselves on Board
The fundamental issue in watching is about us - not our students: have we decided - absolutely - that watching is non-negotiable: all ensemble members must absolutely watch. If we haven't made this decision - and constantly communicated and insisted on it, our students won't watch...and the responsibility is ours, not theirs. And yes, of course, we have to give them something interest to watch.
The first step, then - and the absolutely necessary and fundamental one - is our committing to doing whatever it takes to get our students watching.
Get correct Music Stand and Chair Position & eliminate Visual Clutter
Getting Ourselves on Board
The fundamental issue in watching is about us - not our students: have we decided - absolutely - that watching is non-negotiable: all ensemble members must absolutely watch. If we haven't made this decision - and constantly communicated and insisted on it, our students won't watch...and the responsibility is ours, not theirs. And yes, of course, we have to give them something interest to watch.
The first step, then - and the absolutely necessary and fundamental one - is our committing to doing whatever it takes to get our students watching.
Get correct Music Stand and Chair Position & eliminate Visual Clutter
- A very, very important preliminary: make sure students position their chairs and stands so they can see you simply by looking up.
- Ask them to point at you as if you did something wrong (they love this!). Their music stand should be right under their arm (this will take a bit of negotiating when there is a stand partner).
|
|
Show Them What they Look Like
- Bring a friendly, but a reluctant watcher, up to the podium. Go sit in his/her seat and look hard at the music on the out-of-position stand.
- Ask the student if they feel they're in touch with you.
- They'll understand quickly, and you won't have to say a word.
Make a Mistake - it's ok!
Teach the Skill of Watching
Warm-up their Watching
Teach your students to conduct
** Have them Experience the importance of Watching; rehearse it every day! **
Surprise!
Turn those stands around
Heads Up (yours)
- Address their fear of making mistakes by inviting everyone to play lot of wrong notes - now! - so they know it's ok to make a mistake (in the service of taking a risk) and that you won't be mad if they do. Students of all ages find this a lot of fun!
- Conduct through some music, insisting that everyone look up. Ask how many made mistakes because they looked up! Applaud them and congratulate them for trying the fearful behavior: "Anyone throw his/her back out? Who fainted? No one? Then good for you for taking the risk of watching...making a mistake...and seeing that nothing bad happened."
- I frequently tell students how great they did if they make a mistake because they looked up. (Of course they'll need to practice the music so they can both look up and get the notes and rhythms right.)
Teach the Skill of Watching
- Write out a piece or compose an exercise using whole notes only; have the students memorize the first note so they can watch the opening downbeat.
- Then, tell them to look down quickly, memorize the next note, then look up fast.
- Repeat and repeat. Don't give the next downbeat until all eyes are on you; they shouldn't feel very rushed (just a little).
- The key concept here is: look down, look up; take a risk!
- Write out pieces/exercises using half notes, then quarter notes, then mixing up the note values, and go through them the same way.
- Click here for a variation on this approach that also works well.
Warm-up their Watching
- Warm-ups are the best time to teach and sharpen the skill of watching. Consider beginning your warm-up with a scale - perhaps three beats to each scale degree - but don't conduct in time. Start slowly, speed up, slow down: condition your students to think that they're not sure what's coming next.
- During the warm-up, talk about your beat pattern and teach the pattern to your students; that way, you'll all be speaking the same language.
- Also, show them what your left hand gestures mean - crescendo, accent, fp, etc.
Teach your students to conduct
- Then, teach your students how to conduct them; you'll be teaching them the "language that you're speaking."
- Their physical involvement in the learning process demands their attention, increases their engagement, and is especially valuable to kinesthetic learners.
** Have them Experience the importance of Watching; rehearse it every day! **
- We don’t really build a culture of watching if we just tell them “You’re not watching!” when they don’t follow. If we work on these areas every day, we send the message that they’re important, students will understand they’re important because you’re devoting time to them, and they’ll develop skills in those areas.
- If you devote 5-10” at every rehearsal doing routine warmups, why not do a different warmup from time to time – one that will make watchers, followers, and markers?!?
- After your warmup, students should get out a piece of paper and pick up their pencils.
- For the first few times you do this, ask them draw four large whole notes.
- Then tell them you’re going to conduct those whole notes in 4/4 time and you’re going to indicate dynamics, crescendo, accents, and so on: they are to watch what you indicate, and write those dynamics, crescendi, dynamics, accents, etc. into the music.
- It will help their watching, following, and marking if you ask them to imitate your gestures before they marking their music.
- They can then check their gestures and their marking with a partner; they should feel free to ask you to repeat what you did so they can make sure.
- Even after the first time you do this, you’re likely to see a big improvement in watching as well as following your gestures and marking!
Surprise!
- Create the sense that they don't know what's coming - unless they watch:
- Stop suddenly; indicate dynamics that aren't on the page; give a strong upbeat but no downbeat (gotcha! Students love this).
- Hold a note longer than its printed value ... and wait until the students hear they're not with you, look around, and finally look up to find you smiling and not moving.
- They'll learn without your saying a word. What a delicious moment this is when the students teach themselves; engagement skyrockets and a strong step is taken towards their assuming responsibility for the quality of their singing and playing.
- Doing this consistently can result in ongoing growth, dramatic improvement in ensembles that truly watch and follow their conductors!
Turn those stands around
- When students have become familiar with a piece, ask them to turn their stands around so they can't see the music. .. and then play a phrase or two. Tell them not to look down at the backs of the stands, so conditioned are they to looking down (yes, students often do this!)
- They'll be amazed at how well they actually know the piece, and they can have a totally new experience by watching the conductor all the time.
- Then have them turn their stands back, and ask them to play the same passage again without reading the music.
Heads Up (yours)
- Keep your head out of the score; you can't expect the students to watch you if, when they do look up, you're not looking at them.
- And make sure that your conducting is expressive and changes with the music so that, when they are watching, there's something worth watching.
- Yes, this means a bit more time looking through your scores, but you needn't know every note on the page; see the chapter on Score Study (to come) for more on this.
|
Wait for everyone's eyes
|
For Younger Musicians: Take the "Prehistoric" Approach
- "Class, let's pretend we lived in dinosaur days. We don't have language, writing, or notation, but we are teaching our children how to sing and play in ensembles." (Readers: kindly ignore the lack of logic in this scenario; anything for an effective teaching point, right?)
- "Except the inarticulate grunt or two, we can't say which notes should be long and which should be short: only have left are our movements."
- "We want to show a short note. What would that look like?” (Get members of your class to show you; imitate their gestures; get the class to identify the most effective ones.)
- "Now we we want to show a long note. What would that would look like?" (Do the same.)
- (Now say something to your ensemble like:) “OK, cave-ensemble members, let’s see if the motions you suggested to me will work.” (Then, with the ensemble playing or singing your favorite major chord - so it sounds good - indicate longer and shorter notes using their gestures.)
It can be absolutely incredible to see and hear that your gestures are actually watched and followed! This can make your day...your week...even more!
- You are sure to see your students transferring this experience (with gentle reminders and repetitions of the cave-ensemble exercise) to their warmups and to the music you’re rehearsing.
- If this works for you, do it for crescendo, decrescendo, accents, subito this and that, etc.
Remember: the key to getting them to watch is our commitment to teaching them the skill of watching. Yes, it will "take time away from rehearsing the music."
But what if they consistently watched you and followed your gestures?
Wouldn't that save so much rehearsal time? In my experience, taking whatever time is needed to teach ensembles to watch - and insisting they do - will create that longed-for item: "enough rehearsal time."
Do try the approaches that resonate with your style, and adapt them to your personality. The difference that you can create is likely to increase their attention, active participation, and willingness to "go with you," since they'll experience and be inspired by the improvement they hear.
But what if they consistently watched you and followed your gestures?
Wouldn't that save so much rehearsal time? In my experience, taking whatever time is needed to teach ensembles to watch - and insisting they do - will create that longed-for item: "enough rehearsal time."
Do try the approaches that resonate with your style, and adapt them to your personality. The difference that you can create is likely to increase their attention, active participation, and willingness to "go with you," since they'll experience and be inspired by the improvement they hear.
To help make Igniting Response (to our conducting) as helpful as possible, please leave a comment: Was this helpful? Could something have been clearer? Do you have a suggestion? Did you try it in your ensemble and did it help? Do you have any questions you'd like me to answer? Thank you! David
Click here to be notified when Igniting Response (to our conducting) becomes available.
We won't sell, give, barter, gift, re-gift or lend your information to anyone.
That's a promise!!
We won't sell, give, barter, gift, re-gift or lend your information to anyone.
That's a promise!!
