Ensemble skills: do we really teach them?

Ensemble skills are among the most crucial but often-neglected aspects of musicianship. By "ensemble skills" I am referring to the ability to fit into and enhance an ensemble, large or small; to participate actively but as a "team player." These skills often exist quite separately from other instrumental techniques: think of the soloist (real or hopeful) who is unable to adapt his playing to ensemble situations. Likewise, one can be an excellent ensemble player but lack such technical prowess. Some believe that the instruction students receive in many music schools is geared too heavily to the former: "Most violinists and cellists train for solo careers ..., [but] the chances of becoming a successful soloist are about one in a zillion." (1)

How practical is it, then, that the very skills these students will need in an orchestra (their most likely career) are neglected in favor of more glamorous studies? Ironically, the audition process of many orchestras seems to encourage this attitude, as most ensemble skills can not be effectively evaluated with the performer playing alone and behind a screen. It is important for us to develop our skills as soloists, which also benefits our ensemble playing, but a musician will distinguish herself by an ability to play well with others, to have an approach adaptable to the needs of different ensembles and situations.

"Instead of instrumental exploitation for its own sake (virtuosity), [students] become aware that their instruments can be used to achieve a cooperative musical result for which each member of the group is vitally responsible. With this realization the student is prepared to become a musician." (2)

Why is it, then, that some students seem to possess extraordinary ensemble skills while others do not? Should we chalk it up to "temperament" alone? Certainly not, although this does play a part. Like any aspect of a musician's development, ensemble skills need to be taught in a specific way. Most pedagogical tomes are strangely silent on the matter. Perhaps this is due to the difficulties we face defining ensemble skills; they are unlike a technical problem, like vibrato, that can be more easily addressed. Although there is a technical aspect to ensemble skills, they are most dependant on overall musicianship, a topic more elusive and much less sexy than a ricochet.

What are Good Ensemble Skills?

As we have already suggested, the good ensemble musician relies on not one, but a multitude of skills. The most crucial ones involve awareness and listening: listening to the rest of one's section (and of course to oneself), listening to other sections (and awareness of their parts even when they don't immediately seem relevant), awareness of a conductor, awareness of the score as a whole, even awareness of the score's musicological significance. Some of this involves technical proficiency, some does not. For example, anyone with music-reading skills can study a score before rehearsal, making note of important lines in other parts, rhythmic or melodic couplings with other sections and so forth. Likewise, a stupendous technique is not necessary to have one's ears open to other players and other sections. It does take some technical ability, however, to apply what has been learned and listened to. For example, the astute player at the back of the section might notice--either with ears or eyes--that his playing does not match that of the principal player. Now, he calls upon a battery of specific techniques to maintain good ensemble.

Excellent rhythm is a must. "As much as we cajole our students to subdivide and count rests when playing alone, these things simply are not optional when playing with others! In the other part(s) they must listen for the eighth notes inside that dotted half, or the pulse that continues through their two measures of rest." (3) Rhythmic inconsistencies that the student might not notice when performing solo or practicing without a metronome can now cause an orchestra or quartet rehearsal to come to an abrupt stop. Clearly, rhythmic integrity has both internal (the ability to play with a consistent pulse) and external (the ability to listen to and adapt to others) components.

One shouldn't judge a book by its cover, but much can be observed from a musician's playing demeanor. The player sitting back in his seat, legs crossed and instrument slung low is not likely to be an engaged and engaging ensemble partner. Likewise, the player whose eyes remain affixed to the comfort of the printed page is not likely to inspire the confidence of her colleagues, no matter how good her listening skills. In any good ensemble, large or small, there is a subtle but very real physical commitment on the part of the players. Their individual contributions add up to something greater than the sum of each part: the players' musical intensity manifests itself physically, creating a very special unity of effect (and affect) that can readily be observed in any great ensemble.

Suggestions for Implementation

How can these skills be taught without a major restructuring of the daily routine? In most situations the logical place to start is in the ensemble itself. One of the most basic things an orchestra director can do to foster good ensemble is to rotate instrument sections. We now realize that the old, ranked seating system does not achieve the best musical or pedagogical result. The most difficult chair in any section is the last: farthest from the conductor, farthest from the section leader and nearest to different instrument sections. In these cases, seeing as well as hearing the rest of one's section can really be a challenge; the first-stand players have it easy in comparison. Mixing stronger and weaker players and rotating frequently challenges all, for the best results are obtained not when players follow passively but when they participate with the conductor and section leader; in essence all are leaders. A conductor who cultivates the atmosphere of a string quartet in the orchestra will be rewarded with a great ensemble--and faced with the reality that constant beat-keeping is not as necessary as he had thought!

One interesting and fun way in which this interaction can be encouraged is to have the orchestra completely scatter for an occasional rehearsal--so that there are no stands of like instruments seated together. While we would never perform in this configuration, the emphasis here is on discovering and responding to other sections. When the normal seating is resumed, players will have greater insight into complimentary lines in other parts of the orchestra; they'll have a much better understanding of what to listen to.

Score awareness can also be addressed directly by the conductor and, again, the emphasis must be on listening. Should a conductor expect students to readily identify important lines in other parts of the ensemble? Of course! Likewise, although we might ask students to listen to a recording of the piece they're playing, why not also have them follow along in a score or provide them with a copied page or two? This will not only reinforce their overall awareness of the piece but will also provide an excellent opportunity to integrate a discussion of theory, orchestration and so on, into performance preparation. Students learn how the piece works, rather than simply learning their part. Such careful groundwork helps technical issues, such as rhythm and intonation, but there are other benefits. Students take more ownership in the outcome and are able to play with greater musicality when they understand how their part fits into the bigger picture.

Finally, dare I say, the concert need not be the only goal of the student orchestra. Although the concert is a wonderful learning experience in and of itself, it is the rehearsal process which, when conducted thoughtfully, gives students the tools they'll need to tackle bigger, more complicated works. This far-sighted approach recognizes that students take more time and need more instruction to learn a piece of music than professionals. By "learn," I mean gaining a real understanding of how a piece works and the ensemble issues related to it, not just being able to "get through it" at the concert. Again, shouldn't the emphasis of student orchestras be on education--on preparation for the future?

The idea that one should call upon chamber music skills in the orchestra presupposes the students' experience with chamber music; this might be a tenuous assumption. Are music students consistently given a chamber music experience specifically designed to teach basic skills of listening, responding and leading? Or are they simply tossed into a group and left to fend for themselves, coached more in the topical issues of a particular piece than in basic, universal concepts? Are any of us not guilty of that in some way? We can't assume students will learn these skills by simply playing the repertoire: they must be taught.

Good rehearsal technique is indispensable for the chamber musician. One could easily devote an entire article (or more) to this topic, but a cursory discussion is important here. The quartet that rehearses by playing through a piece multiple times is doing little more than solidifying their mistakes: when rehearsing, we are "forming mental and physical habits, habits that for better or for worse are not easily broken by nerves or will." (4) It takes understanding of basic compositional principles to be able to de-construct a piece for rehearsal: can the group identify the principal themes or motives? This is necessary to agree on articulations, phrasing and so forth. Likewise, even the most basic formal analysis will be of great use in rehearsal and performance. At the same time, the ability to identify at sight, or aurally, basic harmonic structures serves to heighten and inform our listening skills: we are much better able to address issues of intonation when we know what we're listening for. This attention to rehearsal technique must also be an essential component of the conductor's training, as anyone can attest who has endured rehearsals under the baton of an inefficient rehearser!

Let me underscore here the importance of teacher demonstration. Think of how much more effective and concise it is for a teacher to demonstrate a good cue rather than try to explain it. Beginning by mimicking the teacher's gestures, each student will be able to find his or her own natural way of communicating through motion, breath and eye contact; simple exercises can be devised to give each student a chance at leading. The other students must not respond passively but should participate with the leader's cue to avoid a late entrance and for unity of expression.

"As a result of trying to perfect unity in entrances and releases, the student will begin to sense that the gesture, in a minute but concentrated manner, indicates the musical content. In addition, each member assumes a personal responsibility for leadership that goes beyond the concern of his or her own part." (5)

Students can learn so much by playing with their teachers, and in this way those intuitive, practical chamber skills are conveyed in a way that doesn't make them unnecessarily complicated or cerebral.

There is much misunderstanding regarding the tonal requirements of a good ensemble player. True, the tone of a soloist, with wide, rapid vibrato and sound production pushed to the limit, can be obtrusive in an ensemble, but this is not to say that to "blend" one should play with a bland or weak sound. On the contrary, one must be capable of a very wide dynamic range, razor-sharp dynamic contrasts, an endless variety of articulations and a broad color palate. This gives one a chameleon-like ability to adjust according to different tonal requirements, but there is another benefit. Students often make the mistake of playing "for themselves," using dynamics, articulations, and tempi appropriate in a small rehearsal studio. They need to be reminded that, just as in solo playing, the goal is to project their musical intentions to the back of the hall, in order for the music to come alive for the listener. That means exaggerating gestures just as an actor's speech on stage is different from normal speech. In short, tonal malleability is another essential ensemble skill.

Ensemble skills can even be addressed when there is no ensemble in sight: during individual lessons. Every aspect of practicing, in private and in lessons, can and should be done rhythmically, from the repetitions of an isolated shift or motive to the permutations of a scale or arpeggio. It is indispensable to work with a metronome, but only if the student's complete attention is devoted to it. A metronome that clicks away while the student remains in blissful ignorance is of no use. I remind my students here that the right note at the wrong time is simply a wrong note--that rhythmic mindfulness is an essential part of an effective and well-organized practice routine, which develops a reliable inner pulse.

The emphasis on rhythm and ensemble is no less pertinent when working on solo repertoire. A soloist must be aware of the orchestra's role, understanding when rubato is appropriate and when one must be strict or even play "second fiddle" to the orchestra. Yes, even in concerti, the shadow of chamber music is never far away. Again emphasizing the external and internal components of good rhythm, we reiterate that in any music one must be able to first play with absolute rhythmic strictness. This will keep the rhythms intelligible even when rubato is applied, an essential ensemble skill, and will ensure the rubato is the result of musical decisions and not bad rhythm or faulty technique.

Conclusions

The teacher who wishes to improve the ensemble skills of his students must make an example of himself, with instrument or baton in hand. Students will naturally be drawn to emulate their teachers' musicianship, and these skills can be powerfully taught by example, in the lesson, rehearsal or performance. Effective teacher demonstration, coupled with a carefully thought-out teaching strategy and consistently high expectations, will put our students in good stead for their future. In the end, whether they pursue music as a career or enjoy it as a lifelong hobby, their ensemble experiences will always be enriched by careful preparation. A deeper understanding of the complex language of music will render their musicianship more complete. Most importantly, they will have learned the value of listening, a skill that surely enriches all human interaction.

NOTES

(1.) Susan Elliott, "The Great Divide: Training Musicians for the 21st-Century Orchestra," Symphony (July-August 2005): 44.

(2.) John Celentano, "Developing Musicianship through Ensemble Mechanics" American String Teacher 50 (May 2005): 31.

(3.) David Sariti, "Three Steps to Sight-Reading Success" American String Teacher 55, no. 1 (May 2005): 44-48.

(4.) Sariti, "Teaching Effective and Creative Practice Habits" American String Teacher 54, no. 1 (February 2004): 98-103.

(5.) Celantano, 29.