Contest Season: Part Two by E.C. Moore
These eight tips can help you prepare your students for a stellar contest season
In the first installment of this discussion (read Part One), we dealt with the "shalt nots" of preparing your students to perform in contests. Let us now focus on those aspects of performance that impress adjudicators favorably.
First–tone quality and intonation, which go hand in hand. This is a broad topic worthy of detailed discussion in its own right, but for our present purposes, let us simply note first and foremost that no matter how well a band plays in all other respects, when it plays with poor tone quality and inferior intonation, it will leave a bad impression on adjudicators–and receive a low rating.
Second–precision. Vitality and life in music come through careful attention to attacks and releases. Attacks must start together, and there must be clear definition at the moment of release. These factors must be outlined in the baton technique of the conductor. When pianissimos are played with precise clarity, they are ravishing to the ear. Slow movements take on much more meaning when played precisely.
Third–interpretation, which is all-inclusive. To pinpoint its meaning, however, an "interpretation" is really what the conductor makes the music "say." Conservative, clean-cut interpretations are pleasing to adjudicators. Be sincere in the interpretation, but remember that "simplicity is always in good taste."
As a rule, adjudicators are mature, intelligent musicians who have heard a lot of good band music played superbly. While they may not be conscious of it, they do compare a contest interpretation with the great ones they have heard before. The school director should endeavor to give a sincere, clean and convincing interpretation. Freaky, unusual interpretations of standard literature will not convince adjudicators of anything, especially the director's musicianship. It takes something else.
Fourth–correct rhythm and articulation. Note that groupings and rhythmic patterns must be played with precision and clarity. Good adjudicators listen closely to this phase of the performance.
Fifth–and closely associated with number four–precise uniformity in playing articulations. Lack of precision at this point causes both melodic and harmonic distortion.
Sixth–and very important–balance. Balance between the individual choirs and from melodic lines to accompanying voices certainly plays an important part in enabling the adjudicator to arrive at a final rating. The ensemble tone must remain in balance, with melodies and countermelodies kept in proper perspective. When balance is misaligned and perspective is distorted, the fault lies with the director, not the players.
Seventh–dynamics. Perhaps this should come under the heading of interpretation, but I thought it best to reaffirm its importance here. Use a scheme of dynamics that allows the expressive moods in music to influence the listener.
Eighth–adjudicators are impressed by what they see on the podium, and there is much to observe. First, a neatly dressed conductor, who walks on stage with the step of authority and exudes an air of confidence, who refuses to indulge in excessive mannerisms, will be sure to win approval and plus-marks from adjudicators. Good adjudicators are aware of a conductor's baton technique and whether the band follows the beat–or the beat follows the band.
The way a conductor stands has much to do with his or her appearance. Perhaps the best position is with the feet six inches apart, the left foot forward, the weight on the left foot, shoulders erect and in perfect position for deep breathing. Here is a stance that projects a feeling of authority and confidence. Try it before a full-length mirror, and see if it is not the best position in which to stand.
Using clear, clean-cut, conservative motions enables the conductor to get every effect needed. Adjudicators are not impressed with the conductor who indulges in wild gyrations, flailing of the arms or even doing a bit of hula dancing. Practice your baton technique before a mirror, decide upon the effects to be produced, and devise a beat pattern that is economical in motion and gesture.
Many directors look and feel awkward because of the way they hold the baton and use the hands and arms. The baton should be held firmly–not rigidly, baton hand palm-down, parallel to the floor. The wrist must not flap about and should remain in a reasonable line with the forearm. The baton hand should mark the beats clearly and precisely. The other hand should indicate dynamics, expression, and may be used for giving cues.
An excellent teaching device is not to cue entrances during preliminary rehearsals. Make the players count measures and "stand on their own feet" when making entrances. Then, giving cues during the performance provides double insurance that voices will enter correctly and on time.
It has been said that a conductor "should have the music in his head and not his head in the music," a truly pertinent and intelligent remark. A full score is useful at rehearsals. But after a selection has been prepared, the conductor should either conduct from memory or use a condensed score. Adjudicators may be disconcerted at seeing a conductor turn pages rapidly as he reads the full score. They may have a feeling that anyone so busy reading notes and turning pages does not have enough time left to really go about the job of conducting.
The expert conductor keeps his eyes on the players during performance, knowing that eye-to-eye contact is the best way to give young players the confidence they need. The conductor who can direct while giving only a minimum amount of attention to the score has a mind left free to concentrate on the finer details of interpretation. Thus, if it can be done with confidence, memorize contest numbers. If a score is used, memorize its salient features so that a glance at it now and then suffices.
Many conductors persist in going through superfluous motions. As the band plays on and on, the director conducts up a storm, which means nothing at all to the players and serves only to distract the attention of the audience and adjudication panel. A good conductor makes even the tiny flick of a wrist mean something.
We conclude this section by simply advising conductors not to overconduct.
E. C. Moore, a prominent music educator, was author of "The Band Book," first published by Leblanc Educational Publications in the 1960s and still in print today. This article is a revised excerpt from that publication.
