Dear Colleagues,

Ruminating about how to make an upcoming workshop the very best learning experience for the young musicians, I began thinking about the generally small number of students who really know ensemble basics. Since knowing those basics saves precious rehearsal time and creates involvement and better music, I drafted a letter about basics that's being sent to each ensemble member.

Do I expect the kids will read the letter carefully and take its contents to heart? Is the sky green?

Therefore, I plan to stop the first rehearsal the moment I spot someone not doing what I've asked for in the letter. It won't take long! I'll ask if s/he knows why I've stopped (being careful not to sound aggressive or hostile) and I'll then speak about the importance of reading, taking responsibility, and sending messages. For instance:

What message does a musician sent to the ensemble by not taking the letter seriously? That s/he is not willing to push him/herself beyond what's comfortable to make his/her very best contribution to the group effort. Even more importantly: What message has that musician sent to him/herself? That s/he does not consider his/her contribution to be an important one. This ties into the vital area too few ensemble directors address: self-image and self-esteem.

Such talk always gets kids' attention right away. Why? Because it's about them: it addresses their developmental needs, and it's generally new thinking. They usually pay far more attention to ideas about themselves than to ideas we share about the music. By getting their full attention in this way, the music making can reach levels that are difficult to achieve by talking only about the music.

I'll then ask everyone if they've taken the letter seriously. No? Then I'll ask them to take out their copy to look at it together. You're right! Many won't have the letter with them, but this provides a great chance to ask if they would do the same with their math, history, or English homework. Some lights will go off as the young musicians realize that ensemble does have homework - just like other subjects - and that they need to take it more seriously.

Of course, I'll make sure there are extra copies for those who raised their hands high to indicate they didn't bring theirs. Raised high? As you can imagine, it will take some prodding to get everyone's hand way up there. But I'll use this to speak about how great it is the high-handers are taking responsibility for their actions by telling the truth. I'll then ask the other kids to applaud them for their honesty, creating, in the process, a positive and empowering experience for all. The mood will lift, the young musicians will take the letter more seriously and begin acting on it, and the first 15 minutes of the rehearsal will be an adventure that sets the tone for the entire workshop. I won't be heavy-handed, but rather sympathetic and light about it all; after all, I didn't do everything perfectly when I was a kid. But I won't fail to point out that what's going on is very, very relevant to how they'll perform "in life." And I guarantee that the attention and involvement level will, as a result (and with continuing reminders), become very high. And this will be the state in which great music making and memorable experiences can be created.

Here's the letter they'll receive. Do feel free to use it (please edit freely!) with your own ensemble(s).

Dear Ensemble Members, [Your own introduction goes here.] REHEARSAL BASICS Be aware of your posture at all times. It helps you pay closer attention and play much better. Remember: you are always sending messages to yourself. If you schlump down, are you telling yourself that your participation is important and that you feel good about what you're doing and about yourself? What messages do you send yourself when you sit up straight? Arrange your chair and stand so you can see the conductor just by raising your eyes above the music. Watch the conductor! The only way for an ensemble to make truly great music is by watching. It doesn't matter if you miss a few notes. If you look up, your whole experience will be so much more interesting, and you'll quickly correct any mistakes you made. It's actually a wonderful thing if you've made a mistake - it means you took a risk and looked up! Bring a pencil to mark your part; don't you take notes in other classes? Better still, bring two. Mark your music: circle accidentals or dynamics you may miss or have missed even once (it's very professional to stop playing right in the middle of rehearsal to mark your part). Make your markings dark so you believe them. Listen when the conductor speaks to another section. You're likely to have the same music at some point and it's good to hear (and mark!) what the conductor says to them. Check notes, bowings, etc. with your section leader, not the conductor. Put marks above the few measures that are tricky and practice them slowly at home. OTHER STUFF Make a goal for each rehearsal. One day you might focus on listening to another section, other days, your vibrato, using your full bow, checking with the principal to make sure you're playing in the same part of the bow, looking up, making sure you play your dynamics all the way, etc. What do we really work on at rehearsals? The music? I don't think so - I think we rehearse concentration; check it out at your next rehearsal. This is very, very important! In my experience, thinking and listening rule! So: THINK, play, LISTEN. THINK about what you have to do, then play it, and make sure to LISTEN to what you've played to make sure you did what you intended. [Your closing]

With All Best Wishes,



David Barg, Director of The Learning Center
The Classical Archives, LLC
email: david@prs.net