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(Meredith Music Resource). This book provides one huge'room'where everyone can gather to ask questions on the art of rehearsing and listen to answers from people who know. It includes chapters by Caleb Chapman, John Clayton, Jose Antonio Diaz, Curtis Gaesser, Antonio Garcia, Gordon Goodwin, Roosevelt Griffin III, Sherrie Maricle, Ellen Rowe, Roxanne Stevenson, Steve Wiest, and Greg Yasinitsky.

(Meredith Music Resource). Directors included in this publication represent the very'best of the best'with years of experience conducting and teaching. They freely share their ideas, techniques, and philosophies that are sure to enrich anyone who reads this book. Includes chapters by Harvey Benstein, Richard Clary, Steve Davis, Rodney Dorsey, Amanda Drinkwater, Patrick Dunnigan, Richard Floyd, Robert Halseth, Robert Ponto, Robert Taylor and Frank Wickes, with a foreword by Craig Kirchhoff.

Following on the heels of his Conducting and Rehearsing the Instrumental Music Ensemble, John F. Colson takes students to the next level in conducting practice with Rehearsing: Critical Connections for the Instrumental Music Conductor. Colson draws together the critical connections for those seeking to become fully capable and self-assured instrumental music conductors. As he argues, too often conductor training programs treat the problems and challenges of the rehearsal—perhaps the single most critical element in any effort to achieve competency as a conductor—as secondary. Colson supplies the missing link for conductors looking for advice that allows them to complete their training for reaching complete competency as a conductor. He demonstrates throughout the specific connections that the advanced conductor must know and regularly employ—connections that few, if any, other works on the art of conducting address or bring together. One connection, for example, illustrates the joining of music imagery, inner singing, and conducting technique to score study. Throughout, these connections describe the nitty-gritty of what it really takes to stand up in front of an instrumental music ensemble and successfully rehearse in order to achieve its highest performance level.Also, Colson argues and demonstrates the pitfalls of the commonly mistaken assumption among instrumental music conductors that score study alone is sufficient to prepare them for the rehearsal process. This grave error is regularly belied by the fact that a number of other steps precede the actual rehearsal process, from the use of instrumental pedagogy during the rehearsal process to teaching through performance concepts. Colson's work addresses the entire rehearsing process thoroughly and authoritatively.