Examples Of Rehearsal Observation

Rehearsal Observation
Kentaro Mashimo I observed Wind Orchestra’s rehearsal conducted by Dr.Hunt on September 13th, from 4:20pm to 6:00pm. The rehearsal began with rigorous scale practicing by entire instrumentalists. They confirmed several different scales and chromatic scale. The first piece is Molly On the Shore, which is an English folk song suite. As far as I can see his conducting, this piece has duple meter. His conducting is loyal to the instruction. I could see his gesture box clearly. His ictus looked slightly emphasized so it makes easier to figuring out the beat when instrumentalists plays the Piano part. His use of the left hand is mainly mirroring. He did not use the left hand for sending cues many times, and he sometimes used only right hand. However, he always used left hand for stopping playing. He also often used his left hand at the point the expression changed, from piano to forte, from forte to piano, ritardando for instance. I noticed that he uses his whole body for the expression. His knees moved along to the beat, and its strength changed along to the expression. In addition, he also
moved back and forward when the song’s expression changes. And He often turns his body to the particular section. He looked his expression synchronized with changing of the tone of music. Next Piece is Summon the heroes.
I found that Dr. Hunt didn’t take an eye contact almost at all during ensemble plays, and he mainly looked down the score. I assume this is because that day is rehearsal, so he concentrated on confirming orchestra’s sound correspond to the score. sometime he took an eye contact to the trumpet section when the song came to the point they start playing. And I’m surprised at how he subdivides instrumentalists to correct their playing. There is only one instrumentalist left and checked the rhythm of two or three measures and every single note. Dr. Hunt often instructs them the notes by singing. And he points out each instrumentalist’s task to them. This is very drastic and through navigation. As long as I can see, he takes verbal communication mainly, but he did thumb-up after his instruction and instrumentalist correct
it. The last piece they rehearsed is Lincolnshire III. He focused on practicing on certain complex meter part. And he gradually started subdividing instrumentalist again. This time, some of them went to sectional practicing, some of them finished rehearsal. And a clarinetist and flutist left in the rehearsal hall. He didn’t hold the baton at that time and he focused on correcting the rhythm. He leads them by starting slower tempo and counting numbers. Then two other clarinetists who practiced by themselves were back, and combined together. And at this time, his usage of right hand changed frequently, for example, it became stronger and more expressive after he pointed out making clear articulation to them. Through this rehearsal observation, I’m surprised at how delicate and detailed Dr. Hunt’s approaching to the music is. The most interesting fact is they seldom played the whole pieces. I consider that he has a plan by focusing on particular measures and complete them first and then build whole song. It is an interesting difference from the approaching of Dr.Jurgens. I could learn the role of conductor who leads not only during ensembles playing, but also planning whole rehearsal.