Review

John F. Colson
Conducting and Rehearsing the Instrumental Music Ensemble: Scenarios, Priorities, Strategies, Essentials, and Repertoire:

, United States
Publisher: Scarecrow Press
Date of Publication: 2012
Language: English

Paper bound text book. 501 pages.

Primary Genre: Study Material - method

This work of 500 pages, including appendices and index, is the text for an advanced conducting course spread over several semesters. It is not a conducting manual and does not instruct in conducting patterns; prior acquisition of basic technique is taken for granted. It covers all aspects of rehearsal and performance process; from acoustical design of the rehearsal space, audition, repertoire selection, score study and preparation, through dress rehearsal and concert etiquette. Orchestra and concert band get separate space as needed.

Professor Colson is of the opinion that the aspiring conductor must be an accomplished keyboardist and a competent player of at least one other instrument, and have experience in ensemble playing. Much time must be devoted to preparation and score study, with extensive marking of the score and its subsequent commitment to memory. He clearly believes that the best conductors will have the score in their head and not the other way round, and that the best results will be achieved when there is good eye contact with the players. 

He advises against over-fussy technique and confusing gestures, which we have all seen too often, alas! Meticulous study of the score should develop ‘inner hearing’ and ‘inner singing,’ which will determine how the music should sound. The conductor must be able to communicate this to the ensemble through well-practiced technique. A clear preparatory beat is crucial, this is re-stated several times. One wishes all conductors knew this.

Chapters 8 through 16 deal methodically with all aspects of the rehearsal process: planning rehearsal segments and performance goals, discussing ‘top down’ versus ‘bottom up’ tuning strategies, precision in playing basic rhythms, and the distinction between tempo beat controlled by the conductor, and meter beat, which must be felt by the players. He is OK with foot-tapping if the player finds it helpful - hands up anyone who has never been called on this by a conductor! Ensemble sonority, balance and blend are dealt with in detail. One of only two mistakes I found in the whole book appears on p.205, where ‘denigrate’ should be ‘degrade.’ Brass tone production issues are discussed including mouthpiece condition and pressure, intonation and vibrato and controlling the dynamic in the upper register, which “must be a priority for brass players.”

Chapter 11 focuses on the string section, discussing articulation and bowing, and their correct interpretation in context of different periods/styles. Subsequent chapters deal with tempo selection and precision; phrasing and musical line; style and interpretation; dynamics, nuance and musical expression; contemporary music and self-evaluation.

There are many references specific to the trombone although none appear in the index. Issues identified and discussed are slide position accuracy and alternate positions, legato tonguing technique and good sostenuto (mentioned several times), vibrato, clefs, large dynamic range, mouthpiece placement/embouchure, F-attachment slide adjustments and tuning, proper execution of glissandi, multiple tonguing, lip slurs, extreme low register, pedal tones and mutes. He favours frequent use of vibrato on trombone. He is well aware of problems with phrasing and dynamics when there are large intervallic skips into the high register. Tenor and bass trombone are “crucial in establishing a good pitch level for the ensemble.”

Each chapter concludes with tabulated teaching strategies. The text is extensively referenced with lists of further recommended reading and repertoire and suggested projects and assignments. Altogether, this appears to be the basis for a comprehensive and successful advanced conducting course. A few (unimportant) concepts in this book are however out-dated already. I suspect that few university music departments still use chalk boards or tape cassettes, or post anything on notice boards; my own university removed its boards some years ago and used the space for art-work.

Is this book a worthwhile read for anyone who is not an aspiring conductor?  I think it is. Basically it’s all about achieving a good musical performance; whichever side of the podium you are, the fundamentals are the same. The author is Professor Emeritus of Music at South Dakota State University; his teaching career spanned more than 50 years.  He formerly taught trumpet and horn and has played with the NY Philharmonic Orchestra.

-Keith Davies Jones
Winnipeg, Manitoba, Canada