ACO Ensemble Resource

Teaching Resource

ACO PLAYING TOGETHER A Guide to Ensemble Leadership

Contents BACKGROUND INFORMATION THE BENEFITS OF ENSEMBLE PARTICIPATION

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DEVELOPING LEADERSHIP SKILLS FOR MEMBERS OF THE ENSEMBLE

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ACO REHEARSAL ROADMAP OVERVIEW

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USING THE ROADMAP

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CHECKLIST FOR ENSEMBLE LEADERS

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FURTHER TIPS AND IDEAS

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About this Resource This guide offers an insight into the ACO’s working methods and how we run rehearsals.

You’ll find: • Background information on ensemble leadership and how to develop leadership skills in your students • Practical tips for converting ACO principles for ensembles at all levels of experience • A stage-by-stage guide for ensemble leaders to adapt and apply these ideas, and • The skills needed to put them into practice.

Link to The Australian Curriculum: The Arts (Music) •

Years 3 and 4: “Students collaborate to improvise, compose and arrange sound, silence, tempo and volume in music that communicates ideas. They demonstrate aural skills by singing and playing instruments with accurate pitch, rhythm and expression.”

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Years 7 and 8: “They interpret, rehearse and perform songs and instrumental pieces in unison and in parts, demonstrating technical and expressive skills.”

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Years 9 and 10: “They build on their understanding of their role within an ensemble as they control tone and volume in a range of styles using instrumental and vocal techniques. In performance they extend technical and expressive skills from the previous band.”

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ACO Playing Together An insider’s guide for ensemble leaders The Australian Chamber Orchestra is widely regarded as one of the world’s leading chamber orchestras, a reputation gained over 40 years of professional music-making. During that time, there have been many changes of personnel – yet the ethos of the ACO remains strong and distinctive. There are many elements that contribute to an ACO performance – but it is in the rehearsal room that the elements of repertoire, technical demands, and creative interpretation come together. In this guide, we share our rehearsal principles and describe practical ways that they can be applied in your rehearsal room.

The benefits of ensemble participation The benefits of making music as part of a group are well established and far-reaching.

Experiences at school age are particularly beneficial and can help young people to develop many skills which extend beyond the realm of music. Students learn:

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To be part of a community, supporting each other and working in a team on a shared activity that is non-competitive

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The value of paying close attention to a leader or conductor, whilst listening to how their own sound contributes to those around them

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To apply musical skills in a practical context, and the amazing feeling of being part of a larger whole

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To be organised, for example with attendance, personal preparation and the logistics of transporting instruments

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To control their instrument at appropriate level to achieve balance, tone colour, good intonation, pitch, and rhythmic accuracy in a group setting

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Musical multi-tasking (such as reading, listening and watching all at once) to achieve synchronisation of their own playing or singing with that of others

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To interpret the leader’s gestures, such as following the tempo and internalising the beat

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To blend sounds to match tone production, articulation and dynamics

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Ensembles are a great way to keep students engaged in music in the face of competing demands for their time and attention. They provide a valuable forum for music-making where the chance to socialise with peers can provide motivation for improvement, and they can create many learning opportunities to reinforce topics covered in classroom or private lessons. Finally, ensembles provide performance opportunities, and the chance to demonstrate the value of musical participation in tangible ways.

Developing leadership skills for members of the ensemble A distinctive feature of how the ACO works is the unique sound and style which has been created by Richard Tognetti. As with all the Guest Directors that work with the orchestra, Richard provides strong leadership and an interpretation of each program which is then passed on to the ACO’s Principal players and honed within each section. Inevitably, all players feel a sense of pride in their own preparation and performance and therefore a feeling of ownership of the orchestra’s performance in concert.

As a member of a small ensemble, young musicians have many opportunities to develop their leadership skills in small but important ways, for example: •

For advanced and promising students, leading their peers and contributing to the Director/Conductor’s musical interpretation in their role as Principal players

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Helping stand partners

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Demonstrating initiative and ownership by organising and running sectional or private practice with others

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Suggesting repertoire

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Offering ideas for the way a piece is played

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Taking the initiative with practical tasks, such as setting out chairs or stands

These opportunities for leadership development can be extremely valuable for young musicians.

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ACO Rehearsal Roadmap The way the ACO works together is underpinned by some fundamental principles which guide everything the orchestra does: • Artistic excellence, creativity and imagination • A bold and distinctive style • Excellence, integrity, trust and respect It is in rehearsal that these principles come to life as the musicians work together to prepare for performances. Below is a description of these methods followed by a practical application of the Rehearsal Roadmap.

Preparation

Before we get to the rehearsal room

Before the first rehearsal of a new work even starts, many important steps have already taken place. Repertoire has been selected, parts have been allocated, and initial ideas about interpretation have been discussed. All the players have also spent time familiarising themselves with their parts, ensuring that by the time of the first rehearsal they are fluent. There is also a detailed rehearsal schedule in place so that everyone knows how much time will be allocated to different elements of the programme.

The amount of rehearsal time allocated before a performance or tour is significant and players are totally committed to ensuring they are punctual, present and prepared every time.

In the rehearsal room In the Rehearsal Room

The rehearsals themselves are focused and dynamic. Specific methods we use depend on the repertoire, and help to communicate the Director’s interpretation of the music. By varying the approach to working on the musical material, the ACO pulls the pieces apart before putting them back together. For example, we might run through a whole work or movement, and then tackle very short passages or fragments in close detail, attending to phrasing, intonation, synchronisation or tone. In such close work, there may be many repetitions without preamble, analysis or discussion to give everyone a chance to hear how their part fits within the whole. This type of session requires everyone to take responsibility for listening actively to their own part and to the whole ensemble, and then to respond to what they hear.

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As a small orchestra with no conductor, the ACO’s distinctive style arises from strong leadership from the Director and Principal players. Every member has a vital contribution to make by taking cues from their leaders and blending their sound with careful consideration of their role within the ensemble.

This happens in a variety of ways: Richard brings his interpretation to the first rehearsal and shares it with the orchestra. Richard and the Principal players may also have a Principals’ rehearsal prior to the first full orchestra rehearsal in which there could be consultation to agree on such decisions as tempo and negotiating transitions. Sections may then need to consult to agree on bowings, phrasing, articulation and other points of instrument-specific technique. If players have alternative ideas, they are considered, and different options may be tried.

Discussion may range from suggestions of stylistic pointers, contextual information relating to a specific work or composer, experimenting with different phrasings, agreeing on a dynamic ‘map’ for a piece, or offering feedback.

The language in the rehearsal room is always positive, respectful and constructive.

Making collaborative decisions in rehearsals •

Sharing ideas e.g. tempo and negotiating transitions

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Sections consult to agree on bowings

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Discussion of style, interpretation, historical context

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Experimenting e.g. with different phrasings

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Offering feedback

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A vital aspect of communication is the continuous non-verbal exchange across the ensemble. There is lots of eye contact, smiles, movement, audible breaths, and played musical examples, meaning that many creative decisions are communicated without the need for discussion. In fact, the amount of talk is kept to a minimum and the rehearsal time is used primarily as an opportunity to play and come to the Director’s interpretation through listening and putting ideas into practice. This nonverbal communication is absolutely part of the ACO’s identity and carries through into every performance.

Reflection and Renewal

Examples of nonverbal communication in rehearsal

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Eye contact

• Smiles •

Body and bow movements

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Audible breaths

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Repetition without talking

• Demonstration

After Rehearsals

There is a culture of continuous improvement that drives everything the orchestra does. This means that time between rehearsals is also part of the process of performance preparation. Players continue to work on individual parts and additional research may refine programming choices and inform interpretations. Recordings are often made for listening back and further refinements. The effect of this is that the next rehearsal does not simply pick up where the previous one was left; things have moved on through development of technique and knowledge that feeds into the next phase of preparation. It also means that the process of refinement continues between performances, and an interpretation may evolve over the course of a tour or concert series.

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Using the Roadmap A stage by stage guide on how to adapt ACO rehearsal methods to your ensemble

Preparation

ACO Ensemble Roadmap Reflection and Renewal

In the Rehearsal Room

Whilst every ensemble is different and may have unique challenges relating to experience, technical ability or instrument availability, the ACO approach can be adapted to most situations.

The following ideas provide a roadmap which ensemble leaders can use flexibly before, during and after rehearsals as a development toolkit. For more advanced leaders and ensembles it can be used as a tool for continuous improvement.

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Stage 1 Preparation

Key ACO principles

Making bold, innovative, well-researched repertoire choices

Deep, thorough preparation by individuals

Rehearsals are planned with a time outline to ensure everything is covered

Ways to apply this •

What is the ensemble’s ‘distinctive voice’? Does it have one? If not, what might it be?

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When choosing repertoire, consider how it contributes to this distinctiveness.

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Generally, choose repertoire which connects to learning or artistic outcomes, and is well within the technical competence of all

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Make music available for personal practice

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Provide access to full scores if possible

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Encourage research and active engagement with the style of the music by everyone

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Consider sectionals to agree bowings, fingerings for expressive purposes, and to work on section sound and intonation

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Encourage players to take responsibility to work on their own parts based on what comes up in each rehearsal (individually or in groups/stand partner)

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Create and share a plan for each performance or rehearsal period, plus an outline for each session

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Decide how much time to spend on each section

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Be flexible and prepared to change

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Stage 2 In the rehearsal room

Key ACO principles

Use a range of approaches to rehearsal processes to achieve excellence

Everyone shares responsibility creating a unified sound and interpretation

There is a respectful atmosphere for discourse

Cultivate positive nonverbal communication channels

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Ways to apply this •

Vary short and long passages

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Demonstration if possible

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Focus on different aspects (e.g. tuning, sound, phrasing), but not all at once

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Encourage everyone to develop the habit of listening across the ensemble not just to their own part/section

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Encourage small acts of leadership among members, e.g. showing initiative in arranging practice sessions with others, helping out stand partners, making suggestions

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Principal players work with the Director and ideas have a chance to be heard and considered within the rehearsal process.

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Though the Director provides leadership in interpretation and the creation of a distinctive sound, encourage, recognise and affirm students’ ideas to inform your own.

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Trial and experimentation as a regular feature to hear (ask?) which works best

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Play more than talk - whilst keeping the dialogue open, recognise that most progress is made whilst playing.

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Sometimes, just repeat a section a few times, without saying why, it will encourage curiosity and problem solving through listening

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Encourage positive body language (e.g. appropriate movement, eye contact, good posture, smiles)

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Stage 3 Reflection and Renewal

Key ACO principles

A culture of continuous improvement underpins everything the orchestra does

Ways to apply this •

Build in some time during rehearsals to reflect on ideas, interpretation and listening.

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What worked, what didn’t? Do more of, less of?

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Occasional recordings are a good way to track progress or for critical listening

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Encourage members to come to rehearsals with ideas

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Ensemble skills for leaders A checklist for those wishing to develop their ensemble leadership skills 1. Research and preparation Understanding of instruments and their combinations – including keys, transposition,

ranges, issues of balance, an appreciation of specific technical difficulties Identifying suitable repertoire for instrumentation and ability of group

Organisational skills – players, instruments, rooms, plans for rehearsals, and to create

and plan opportunities for performance as appropriate 2. Working with a group in the rehearsal room An effective ensemble leader knows how to: Set up the room for optimal effectiveness

Facilitate warming up and tuning of instruments

Allocate parts

Create an atmosphere where all can contribute their best work

Use a range of rehearsal techniques to address problems as they arise

Work on musical materials using appropriate language e.g. structure, style, form

Taking and giving cues and directions

Listening, responding and making adjustments

The personal skills and qualities which will support this include: Ability to articulate ideas and explain concepts in a way easily understood by all

Agreeing and embodying ‘ground rules’

Flexibility, adaptability and resourcefulness to change approach to suit group

Ability to empathise and respond to the group

3. Reflection Review and plan for continuous improvement

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Developing your ensemble Tips and ideas shared by teachers and ensemble leaders •

Participation is more important than technical mastery - make it fun and accessible for all

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Consider a rhythm ensemble to get the basics going, or as a warm up activity

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Make sure written parts aren’t a barrier for those less strong at reading, or if transposition creates parts in more difficult keys for mixed ensembles.

(Generally written parts should be well within students’ capabilities, and easier than they could play alone)

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Change the tempo regularly

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Run transitions frequently so that ‘gear shifting’ becomes familiar and normal

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Sing complex rhythms or transitions together

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Role model whenever possible, using positive demonstrations, without exaggeration but with conviction

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Experiment with group sound – use vivid descriptors to encourage pushing of boundaries and extending range (e.g. ‘whispering’, ‘strident’, ‘chocolate-y’, ‘slippery’)

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Change seating positions occasionally to shift perspectives

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Try a circle with everyone facing outward so they have to listen really hard to play together

Feedback If you are an ensemble leader and have ideas or feedback which might help others, or which you’d like to see included in this guide, we’d love to hear from you!

Please email us at education@aco.com.au Resource created by Nicola Pennill, The University of Sheffield, UK. Nicola was supported by the White Rose College of Arts and Humanities to travel to Australia on placement with the ACO as part of her doctoral studies.

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