![]() I encourage directors to select a little less demanding music in order to devote more time delving into tuning, phrasing, balance, tone, and musical expressiveness. For example, if there will be seven selections in an upcoming concert, program two “easy reads,” four or five pieces “in the wheelhouse,” and one “challenge” piece. Depending on the lengths of specific pieces and the number of weeks of preparation devoted to concert preparation, I suggest a good balance of approximately 30% “easy reads,” 60% “in your wheelhouse” and 10% “challenge pieces” (your mileage may vary!). Err on side of the latter and you risk cramming the piece by rote, exasperating students and robbing them of the joy they should be experiencing when making music. Err on the side of the former and your ensemble will peak early and be bored. Getting the right mix of “easy reads,” “in your wheelhouse,” and “challenge” pieces is crucial. “Challenge pieces” stretch the ensemble and-if they’ll ultimately be performed (rather than just rehearsed for the experience)-will need a commitment of extra time and effort by all involved. They leave time for the ensemble to work on lots of musicality so, in the end, everyone sounds their best. These selections take reasonable effort but don’t exasperate. Pieces “in your wheelhouse” are ones well-suited to students’ abilities. Because they are confidence builders, they are great for opening and closing rehearsals, and for digging deep when it comes to musical expression. “Easy reads” are pieces which allow an ensemble to sound good early on in a concert preparation cycle. There are educationally appropriate reasons for selecting music of varying difficulties for every ensemble, regardless its rating or level. ![]() The following are some approaches that can help you narrow the choices in order to focus on the right music to program. ![]() More than ever, choosing repertoire to place on the stands of students in ensembles is just about the most important decision directors make. With cutbacks to student contact-time faced by many programs and the urgency of preparing for the next performance (always around the corner), directors are increasingly using concert selections to teach curricular musical concepts (“Teaching Music Through Performance”). There are so many worthwhile old and new pieces from which to choose, and from so many gifted composers yet our time to meet and work with students is limited and precious.
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