Listening Sideways: The Art of Playing Together
By Vince Gassi | August 18, 2019
Listening sideways is the second of three essential steps toward developing a more musical ensemble. As music educators, we attempt to teach our students how to practice properly so that:
- They are constantly improving their technique. The more control they begin to have over the instrument, the more they can...
- Direct awareness outward and listen to what is happening around them. This leads to...
- The stage where your ensemble is ready to work on expressiveness.
Here is a simple but essential exercise to help develop the ability of your young musicians to “listen sideways.”
1. Have your ensemble play a concert Bb scale (or insert key of your choice). They can play four quarter notes (all tenuto) on each pitch of the scale (ex. 4 Bbs, 4 Cs, etc.). Play the final note of the scale as a whole note.
2. Encourage all players to listen to each other. Actually use the phrase “listen sideways.” It will be your unique code for them to understand what you are expecting of them. This may be challenging, but stick with it.
3. Now, have only the first chair players from each section play. Direct them to play the same scale together in quarter notes as before. Players must listen to each other and match volume, tuning, note length, style, etc.
4. When the section leaders can do this, have the rest of the ensemble join in. The section players must “listen sideways” in an attempt to match their section leader exactly. If they cannot hear their leader, then they (or others) are playing too loudly and must adjust. This may take several attempts, so be patient.
5. Now have only section leaders play the same scale (or a different one if you choose) but this time, instruct them to play it in a staccato style; remember, 4 quarter notes on each pitch of the scale. Do this until the leaders can match each other. When playing staccato, students may often become impatient and start to rush ahead. Start over if you have to but keep them to the indicated tempo.
6. Now have the rest of the band join in with the instruction that they must once again listen to their leader and match them exactly. The goal is to have each section sound like one player.
7. And now for the real challenge! Have the whole band play the scale again, starting legato (4 Bbs, 4 Cs, etc.). Ask each section leader to switch at a time of his or her own choosing, from tenuto to staccato. Yes, you’ll have different sections playing different note lengths at the same time but, since this often occurs in your repertoire, it will be excellent practice. The section members may not switch at exactly the same point as their leader, but keep at it until they can. This is what the ensemble is working towards.
Keep at it each rehearsal until it happens, until the section players switch together with the leader. Even when they achieve this goal, keep doing this exercise at each rehearsal. It is a great way to reinforce this essential listening skill. This is the way athletes train. Baseball players work on the basics before each game of the season, taking ground balls, batting practice, etc., just to stay sharp. I’ve heard it said when the first player player makes a mistake, a well-trained section will make it with her.
8. Try having just one section do this. The other sections will learn much from hearing just the flutes or just the trumpets try this exercise a few times. They may be eager to prove that their section can do better. So, let them! A little healthy competition can be a good thing now and then.
Don’t give up after one or two attempts at this exercise. Keep at it until the ensemble really starts to hear what is going on. It will be at this point that you (and they) will start to notice how much cleaner the ensemble sounds.
You can also do this exercise using chorales. Through regular practice, your students will become conditioned to listen (and really hear) what’s going on around them. This is one definition of a good musician: someone who is aware of what is occurring musically and responds accordingly. Remember, your students don’t come to rehearsal to learn their part, they come to learn everyone else’s part. This is why developing awareness through directed listening is so important. If practiced regularly, you will notice your ensemble maturing as the weeks go by and expressive playing is the inevitable result.
Don’t forget—all this time, you, the conductor, need to be indicating style and tempo. Your students’ awareness should include responding to you as well. So try the same exercise but instruct them to change style when they see you indicate such. You are the ultimate section leader!
Listening sideways is an essential skill, which, if practiced on a regular basis, will empower your musicians to mature. Eventually, your ensemble will begin to transform. Your students will become players who are aware of their musical surroundings and will respond appropriately. It is so much more fun for them when they play together. Similarly, it is so much more fun to conduct an ensemble that responds expressively in real time to each other, the hall, and most importantly, you the conductor. Expressive performance is what all of our hard work is ultimately about. From this point on, the sky is the limit.
An Alfred Music author since 2006, Vince Gassi is a much sought-after composer, conductor, and clinician. With over 50 published titles to his credit, Vince's creative and energetic style has made him a favorite with young musicians. His works, both challenging and musically rewarding, appear on many international concert and contest lists.View Author Page
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