Journal Entry - Chapter 24 (Colwell and Goolsby)

January 31, 2007
As seems to frequently be the case, the reading selection of chapter 24 from the book is quite comprehensive. The section on score preparation is very useful. One of the aspects of score study that seems to be jumping out at me from several sources lately is that of audiation. While I have always tried to “sing” passages of any music I can’t actually sit down and play, I just never thought about it being so completely imperative to effective score study and preparation. I also appreciate the author’s writing of this guideline: “Continue to analyze the score to make an informed interpretation of the piece.” As I have recently prepared a couple of scores myself, I know that it can be easy to simply pick something to do in a certain bar based on very little. Perhaps a rit. is written. How much should it slow down here? Is there precedent for slowing down in this piece? In other pieces by this composer? What happens after the rit.? There is so much more to know than simply that there is a rit.

The beginning of the section on rehearsal planning suggests that at least 20% of the rehearsal time should include regular activities used to improve basic musicianship. I can’t disagree with this in principle. However, in practice, I must say I have rarely, in my experience, seen this done, so I would question its application to all situations. I am sure that time spent this way cannot be a bad thing. But, is this not, in large part, what private teachers are for? I realize that not all students will be able to study privately. Nonetheless, in schools where private lessons are common (if not even offered in the school, perhaps even during rehearsal!), less of this time is needed. Certainly the ensemble must physically warm up, and some time spent learning to play as an ensemble is important. But I just feel that many of these concepts can be address sufficiently (in many situations) during the actual rehearsing of concert/contest/festival literature.

Tuning is a very interesting topic, and one that I think the author addresses well in this chapter. My favorite part of what he wrote is this: “Use of an electronic tuner holds the risk that students will come to consider tuning as a ‘visual’ thing.” While I obviously, at this stage in my development, do consider tuning to be an aural concept, I have always thought of it, also, as a visual thing, particularly when looking at a tuner. Obviously, a special awareness of the “up-ness” of the tuning meter is important; however, it cannot be left there, or students really will simply associate pitch with fixing a meter and nothing else. This would be very bad for this individual comprehensive musicianship as well as the ensemble’s ability to play together and sound good while playing together.

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