Song Name |
Composer |
The Spiritual/Human Alchemy of the Choral Rehearsal |
Part One: The Insides of Rehearsing |
The Tethered Rehearsal |
Part One |
Encouraging the Inner Journey: Choirs on the Edge |
Part One |
Contextualizing the Choral Experience |
Part One |
Teaching Ensemble Silence |
Part One |
The Perceiving Choir |
Part One |
Selecting Literature for your Ensemble |
Part Two: Choosing a Rehearsal Path |
The Rehearsal Atmosphere |
Part Three: Spiritual and Human qualities of the rehearsal |
The "It" of Rehearsal: Setting the Mimetic of the Room |
Part Three |
The Willful Choir |
Part Three |
The Rehearsal Room as a Secret Place for Musicians |
Part Three |
The Energy Dynamic of the Rehearsal: Pacing and Energy |
Part Three |
The Door Into Musical Style: Timbre Preferences |
Part Four: Other Conductors Influence on the Rehearsal Process |
Breathing New Life Into Renaissance Choral Music |
Part Four |
Determining Tempos for Performance and Rehearsal |
Part Four |
Score Preparation: A Kaleidoscopic Process |
Part Five: The Accompanist and the Rehearsal |
The Quantum Conductor |
Part Five |
Begin with Aural Study: Ear Before Eye |
Part Five |
Analysis of Tune and Text |
Part Five |
Vocal Score Study |
Part Five |
The Rite, Passage, and Necessity of Score Marking for Conductor and Choir |
Part Five |
Deciphering the "code" of Renaissance Composers: Cadential Analysis and Application to the Performance of Renaissance Music |
Part Five |
Breaking the Renaissance Code |
Part Five |
Understanding the Journey of Texts |
Part Five |
The Historical and Structural Analyses of Choral Works |
Part Five |
Schenkerian Analysis as an Analytical Tool For Performance Preparation |
Part Five |
Using the Principles of Laban Movement Score Analysis |
Part Six: Completing the Process |
Audiation and Imaging: The Key "Practicing" Conducting |
Part Six |
Rehearsal Planning Checklists: Covering all steps |
Part Six |
The Moment Prior to Rehearsal |
Part Six |
Postscript: The Rehearsal as a Connecting Experience |
Part Six |