Rehearsal Techniques: Dynamics and Balance by James Neilson
Ways to clarify routine rehearsal procedures in your classroom.
Many questions arise in the mind of the conductor during rehearsals. Scarcely a measure goes by in which he or she is not called upon to make a decision of some sort. With each decision, the conductor has an opportunity to better the performance, and making clearer the composer's wishes concerning the interpretation of his music.
Questions and answers of dynamics and balance are offered here in the hope that it may clarify routine rehearsal procedures, and offer specific suggestions to the many issues that arise during rehearsals.
Have I adopted the dynamic levels best suited to the music in performance?
The dynamic scale moves from the point of inaudibility to a place of transcendent loudness. Think of dynamics this way:
a. Eight dynamic panels are offered, with a dynamic modification possible within each. Select a panel for over-all use which is suitable to the music in performance. Then, make dynamic excursions on either side as called for in the score. Keep in mind that a dynamic indication is not a decibel rating.
b. It is better to underestimate the quantity of sound for the over-all dynamic. It is easier to bring a dynamic up from softer panels than to reduce it from the louder.
c. A hymn of praise and another about the sufferings of Jesus both marked "f", Must be played at different dynamic levels.
Before selecting a dynamic panel, ask the question – "What is this piece of music trying to say?" The correct answer to this question will result in the adoption of workable dynamic scheme. One must not play the Overture to Rienzi and a minuet from a Mozart symphony within the same range of dynamics.
d. Many bands make the mistake of playing everything at a weak, anemic "mf". Others sound like boiler factories, full steam ahead. Both are bad. Use all dynamic panels as suggested by the composer or arranger, but use panels 7 and 8 sparingly, to highlight moment of peak climax. Underscore places of sensitivity and delicacy by using softer dynamics. And do use the in-between dynamics. There is a special spot in heaven reserved for conductors who teach bands to play "mp", "mf" and "f".
e. When music is essentially lyrical in character, be restrained in the use of louder dynamics. When it is dramatic, filled with moments of tension, a wider range of dynamics may be used.
Have I developed a true crescendo and diminuendo?
When the crescendo or diminuendo lies within the phrase, restraint must be the watchword. The climax which culminates the crescendo must not be reached too quickly. Count the number of pulsations from the beginning of the crescendo to its climax. Reserve sudden surges of power for the last few pulsations. The falling away of the diminuendo may be done a bit more quickly.
a. Composers often use a series of crescendo, resuming the prevailing dynamic after each. Judge the volume of sound carefully when this is so. Err on the side of caution in adopting a prevailing dynamic panel.
b. When the crescendo is short and no directive is given for the climax, make this the next degree of the dynamic scale.
c. When a tension crescendo is developed (more and more instruments added gradually to the point of climax,) adopt a moderate prevailing dynamic panel. Make each entering instrument or group of instruments enter at and maintain this dynamic level. Since the reverse situation may be true in the diminuendo, the same careful attention must be accorded the prevailing dynamic.
d. Long-held notes across phrase contour, such as those that occur in pedal point or organ-point, have a way of seeming to become louder than they really are. Experienced conductors insist that these be played at lesser dynamic levels than those used by the moving parts.
Have I adopted the correct degree of force for the power impact?
a. The power impact (sfz, fz, fp, etc.,) introduces an element of surprise into the performance. Its peak must be in the mood and style of the prevailing dynamic, i.e., if the accent occurs during a passage marked "p", the peak should be "mp", or "mf", not the "ff" that is used so often.
b. Treble instruments and sonorities which develop brilliant resonance must play power impacts at a lesser dynamic than do instruments and sonorities with lesser brilliance.
Does the ensemble sonority establish a true sense of perspective?
a. Conductors should become familiar with the word "perspective" as it relates to balance of voicing. The near object on every musical canvas must be melody. When the melodic line is not brought to the forefront, music loses its sense of proportion and tends to become incongruous.
b. Both primary and secondary melodic arcs must be accorded their proper place in dynamic perspective. The audience is always intent upon discovering melody in music. It is the score, but also to disclose them to the hearer. The conductor must not act as though every person in the audience had a copy of the score in hand, was able to read it, and thereby discover for himself melody in its pristine form.
c. In contrapuntal and polyphonic music, melodic lines must be made clear according to plan. One voice line may be playing crescendo, still another diminuendo, and yet another maintaining and equable dynamic, all at the same place and time. It is difficult to edit the printed score and highlight these factors. The conductor must spend time editing his own score in the interest of making clear contrapuntal or polyphonic activity. He who awaits the rehearsal period to do this will surely find himself at sea, lost, unable to resolve the conflict of voices.
d. The entering voice dominates its section of the fugue. The tutti must bring the principal subject, or fragments developed from it, to the forefront.
e. Top line melody must be revealed clearly in homophonic music. Middle voice and bass line sonorities must be kept in proper balance. No single element in the vertical structure of homophonic music may be obscured.
Is the ensemble sonority balanced with care?
a. When the ensemble sonority is unbalanced, the conductor may be to blame. In many bands, individual instruments or sections of instruments are allowed to dominate the sonority unduly, thus destroying perspective. No matter what combination of instruments is called for in the score, the intelligent conductor has a clear conception of the sonorous reality to be developed, and rarely deviates from this.
b. Balance in ensemble sonority in maintained through assigning dynamics that allow each timbre to develop its tonal characteristics unhampered and unimpeded. The conductor must be aware of the potential sonority inherent to each section and the individual solo instruments of his band, and must know how to mix and blend tonal color through assigning appropriately conceived dynamics. He must know the score thoroughly and, long before the rehearsal begins, have settled for himself those problems concerning balance, which may arise.
Are chordal components in balance?
When a triad is in the root position, the chord root, 3rd and 5th may take weight precedence over the root. Triads in the 2nd inversion with the chord 5th in the bass present real problems of balance.
a. Chords of the 7th, 9th, 11th offer puzzling equations in balance. Notes in these chords should be weighted in favor of their activity with tones in motion receiving a bit more weight.
b. Many questions should be asked when assigning a ratio of dynamics from chord to chord. "Is the chord in motion or at rest?" (More weight on chords in motion.) "Do the doublings reinforce important or unimportant components?" (Doublings in band music have a way of bringing the relatively unimportant chord 5th into undue prominence.) To answer these as well as other questions relating to chordal balance calls for an accurate knowledge of styles, idioms, and a specific knowledge of instrumental timbres as these relate to ensemble sonority. Wise is the conductor who asks and answers these and other questions well in advance of the rehearsal.
Are the individual notes in the melodic line balanced carefully?
a. In making clear the melodic outline, balance from note to note is important. Important melodic tones must be weighted over those of lesser importance. The conductor must sense each tone of the melody within its harmonic framework, both in movement and inertia. Active scale steps must be weighted according to the nature of their activity. When this is not done, even the most glowing, soaring melody tends to become lifeless and without emotional appeal.
b. The appoggiatura should be pronounced with added stress.
c.Longer tones in rhythmic utterance must be coupled with a sensitive touch of dynamic nuance – a sort of rubato in dynamics.
d. Music written in baroque and early classic idioms must be interpreted so that the agogics (the technique of accenting musical notes by increasing their duration) are preserved. An agogic accent is one written into the music through the use of a longer tone or even the use of unorthodox harmonic or rhythmic structures. Retain fluidity of motion by avoiding accented stress patterns and power accents.
With precious minutes flying by, solutions to the myriad problems that arise during rehearsal must be found quickly, or precious rehearsal time is wasted, lost forever. Time is a precious commodity in the conductor's life; he never has enough of it. The competent conductor always has a clear idea about what must be said and done during the rehearsal.
Dr. James Neilson was the Director of Education for the G. Leblanc Corporation from 1962 to1985. This article is an edited version of the original publication.
