Learning to play together
Filed under: collaboration, Jams and large-scale events, MSO ArtPlay Ensemble, music education, Programs, Teaching Artist pedagogy, Teaching music creatively, Training musicians, warm-up games | Tags: ArtPlay, children, children's music, ensemble, Hamer Hall, MSO, musicians, Petrushka, playing together, warming up |
I just completed a remount performance of the MSO ArtPlay Ensemble’s Petrushka-inspired composition on the weekend. We created the music in the July school holidays workshops, and then reworked it and performed on Saturday night at the Hamer Hall as part of the Melbourne Symphony Orchestra’s Stravinsky Festival.
The focus for the Ensemble in this project became about ensemble – playing together. It occurred to me, watching the group rehearse on Friday night when everyone very tired and not very focused (it was the end of the school week, middle of the year –tiredness before we even started the rehearsal was understandable!), that some in the group only have vague understanding of what it is to play as one of a group. When the energy is in sync and entrained throughout the group, it will carry everyone along with great forward momentum. But when the energy is more scattered, we need to be able to call upon people’s learned ensemble playing skills. If they aren’t well-established across the group, then that sense of ensemble and togetherness never quite locks in.
Ensemble skills are nuanced, and subtle. They involve great alertness to small changes in other people’s playing, an ability to imitate and match, to lead clearly and to follow exactly. Good ensemble players can establish a strong ‘flow’ within the group and maintain this, through focus and attention. Ensemble skills also encompass behavioural norms – understanding the social rules and patterns that govern a particular group and how it communicates and organises itself.
These are learned skills. They are the reason why an amazing soloist does not necessarily make an amazing orchestral musician. Children can learn these skills. Typically they are skills that are often learned over time through multiple experiences of playing with a group, a tacit knowledge that individuals may not realise they already know. But they can also be taught, and highlighted in the rehearsal process.
Building an ensemble focus with warm-up tasks
We rehearsed again on Saturday afternoon, before the Saturday evening performance. We stood in a circle and I led a warm-up that focused people on imitating – copying very slow hand gestures, aiming to have all of use appearing to move in the same way at the same time. We also built up our physical awareness – our composition required everyone to move to other places in the performance space, so we practiced walking slowly, quietly, and with awareness, to new points in the circle, and then making small adjustments so that the circle was perfectly round and evenly spaced once again.
We played/performed the Plasticine Man, a light-hearted task that links a simple narrative to story-telling hand gestures, and vocal sound effects. It is a fun vocal warm-up that encourages people to use their voices freely and unselfconsciously. Children can embellish the story, adding elements and sounds and further dramatic events. However, for our purposes on Saturday, the focus was one of performing each of the vocal sounds accurately together. To do this, they had to watch for my breath cue, and maintain their focus in the silence that preceded it.
We tested our ability to respond quickly and work as a team. Everyone held hands and sent a fast, sharp hand squeeze around the circle one by one. We timed ourselves with a stop-watch, with the goal of improving our time with each reiteration of the game. We got faster each time, so the energy created by the game itself was enhanced by the positive energy that came from achieving a goal.
With my language too, I emphasised ensemble. Some children in the group have a tendency to hear an instruction, and then start playing immediately. “Wait,” I reminded them. “We are going to do it together. Watch for the cue.” And the looking began to happen more automatically. The focus was held. Tempos were steadied. Individuals became less self-focused and more group-focused. And they were having fun.
Fun, of course, is the magic of good ensemble experiences. It can be exhilarating to play music together when each person is right inside the sound, fully present with the group! And when it is your own music that they you are playing and sharing with an audience in a high-stakes event, it only adds to the sense of satisfaction and delight.