Ryan Wilson

November 3, 2014
Neuen Rehearsal Techniques
1. Sing through a new song entirely: This can give the chorus an overall picture of
where there heading with the music
2. Work backwards during rehearsal. This helps to ensure practice of more unfamiliar
material (versus rehearsing the beginning of the piece which is often times over
practiced.)
3. Rehearse only passages that need it.
4. Try to instantly stop mistakes when heard to not ingrain bad habits which might show
during a rehearsal.
5. Correct one thing at a time.
6. Give advice/warnings on potential trouble spots to the choir, but dont overload them
with information.
7. Dont conduct the accompanist or the soloist. The accompanist should already know
how the music sounds and if the soloist needs to be conducted, he shouldnt be
singing the solo
8. Sing musically on natural syllables such as
9. Use count singing to solidify rhythmic security.
10. Have the entire chorus sing one part.
11. Have a higher section demonstrate high parts for a lower section.
12. Talk very little during a rehearsal and be brief.
13. Every singer should have a pencil during rehearsal.
14. The conductor must have energy. He is the living example of everything needed by
the chorus.
15. Begin the rehearsal with a song the choir can sing well to build self-confidence.

Dehning Rehearsal Techniques

1. The objectives of rehearsal are: 1) to achieve the best result in the shortest time with
the least strain, vocally and generally; 2) to promote the aesthetic and personal growth
of everyone in the room through increasing musical awareness and skill.
2. Conductors should be masters of every detail of the score and its inherent difficulties
before the first rehearsal, and they can clearly hear in their heads how they think it
should go.
3. They should also have a battle plan for the repertoire; how much time it might
require, how to approach the learning of it (Gestalt or deductive).
4. The conductor should make certain that the "second time around" is really different.
This applies to after you have made a suggestion or a correction and they are doing it
again. Did they take your suggestion to heart and apply it?
5. Rarely repeat a phrase for notes only, but only add one or two more things.
6. Encourage the ensemble's opinion as to where people are having trouble, and why
(Pitch? Rhythm? Text?).
7. When introducing a new piece, especially if long or difficult or both, take them right
to the spot you really love, or which contains the essence of the work, or which they
can technically grasp, and polish it.
8. When learning a new piece, go after the music from the very beginning, even if sightreading. Conduct it as it's going to be performed that first time through.
9. If a section in the overall form of the piece is particularly difficult, consider avoiding
it in the first run-through.
10. Avoid "I." As in, "l want that staccato; I'd like more sound there; sing that for me,
tenors; I want a breath there"' and my personal favorites, "don't do that to me," or, "do
it for me."
11. When correcting, point out the difference between right and wrong and be very
specific when doing it. For example, don't just tell the tenors they were flat; tell them
exactly where, why, give them a solution, repeat it until it's right (or give up), and put
it back together.
12. Avoid working with only one section at a time. Have at least two busy the whole
time.
13. Speak loudly, slowly, and clearly during rehearsals, but almost never while they are
singing.
14. Know when to quit if a particular musical idea isnt coming through and try it again at
the next rehearsal.
15. When giving starting directions, work from General to Specific: "page 7, second
system, third bar, fourth beat.