1. Linking Fundamentals to Repertoire

3. Focus the ensemble members.

4. Get voices, instruments, and bodies working properly before tackling repertoire.

5. Focus the ensemble members. Get voices, instruments, and bodies working properly before tackling repertoire. Begins the routine of rehearsal. (Some danger there!)

6. Focus the ensemble members. Get voices, instruments, and bodies working properly before tackling repertoire. Begins the routine of rehearsal. (Some danger there!) Provides an opportunity to work on fundamental skills.

8. PRO Like stretching before exercise, gets body ready Expectations are clearly understood No explanation necessary

9. PRO Like stretching before exercise, gets body ready Expectations are clearly understood No explanation necessary CON Easy to tune out mentally No new concepts Perfunctory execution means no growth

11. Involve the entire group (except perhaps percussion)

12. Simple enough to explain in one sentence

13. Involve the entire group (except perhaps percussion) Simple enough to explain in one sentence Engage musicians’ brains – NOT routine!

14. Involve the entire group (except perhaps percussion) Simple enough to explain in one sentence Engage musicians’ brains – NOT routine! Not technically challenging

15. Involve the entire group (except perhaps percussion) Simple enough to explain in one sentence Engage musicians’ brains – NOT routine! Not technically challenging Target specific issues in your repertoire

16. Involve the entire group (except perhaps percussion) Simple enough to explain in one sentence Engage musicians’ brains – NOT routine! Not technically challenging Target specific issues in your repertoire Short

17. Pitch and Intonation Dynamics Harmony Balance Rhythm and Articulation Timbre Line

19. Unison playing, changing pitch at the conductor’s direction. Scales in new keys (instrumental) Half drone, half move Singing intervals and parts (yes, instrumentalists can do it too!!)

21. Conductor-directed crescendos/diminuendos on pitch exercises Listening to neighbors (softer/same/louder to set ensemble dynamic levels)

23. Half drone, half move Parallel chords Staggered scales Build and tune chords Cluster chords

25. Neighbor listening Listen for specific section Listen for specific chord tone Conductor directs certain sections to play/sing louder or softer

27. Isolate a single rhythm and put into a scale or other exercise. Play/sing with or without conductor. Keep rests in time without conductor. Psychological conducting Air patterning (instrumental) Speaking (vocal) Vowels/consonants only (vocal) Subdividing “Bopping”

29. “Bright” vs. “dark” sounds Compare section sounds Same pitches on different strings (strings) Vowel matching (vocal)

31. Conductor shows arrival point in scales and other exercises Chorales, experimenting with different points of arrival

32. Semi- polyphonic texture Harmonies over a drone Potential phrase fragmentation Potential balance issues

33. Long lines Slow dynamic changes Balance between long and moving notes Key signature

34. Repeated rhythms Two different articulations Melodic and harmonic intervals Dynamic changes Phrasing

35. Bitonality Entrances on off beats Different dynamics in different instruments Changing dynamics Necessity to move exactly together

36. French Layered entrances Lush harmony Ensemble/interval intonation