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The article focuses on strategies to improve ensemble rehearsals by enhancing timekeeping and rhythmic awareness among musicians. Topics include the importance of conducting versus musicians' timekeeping, the role of rhythmic awareness and mindfulness, and the implementation of specific exercises to develop and refine these skills within ensembles.

The article focuses on the concept of teacher clarity in education, particularly in music education. It emphasizes the importance of teachers communicating the "why" behind their teaching methods to students and engaging them in discussions about the educational objectives. It discusses the use of learning intentions and success criteria as tools to enhance teacher clarity, and provides guidance on how to implement these concepts effectively in music rehearsals.

The article discusses that expressive conducting is integral to the student's rehearsal and performance experience as well as overall learning. It mentions the importance of conducting as a discrete program of study is reflected in its longstanding and seemingly universal inclusion as a requirement for degree programs in music education; and also mentions that physical movement itself appears to convey a sense of musical expression to undergraduate musician observers.

The article discusses importance of rehearsed music pieces for student-musicians. Topics discussed include ways to promote student-ownership and independence through student-led rehearsals, conductor less approach to work, the majority of the teaching has to happen before the students receive the music; and importance of increasing their ownership, engagement, and independence.

The article offers information associated with developing a music program as a reflection and celebration of the individuals in classroom in terms of their diversity, culture, nationality, religion and economic background. Topics discussed include how music program development could be a progressive step for music educators, role of musical theater in shaping personal identity of a child and need to develop relationship with parents, administrators, staff, and students in music education.

The article focuses on the popular music education that combines elements of informal, formal, nonformal, traditional, and contemporary approaches to teaching and learning. It mentions the rehearsal environment truly depends on the skill set, personality, experiences, and temperament of the ensemble coach; and also mentions that every rehearsal is a dance and each ensemble will have its own personality.

The article offers suggestions on achieving improved results while preparation of one's music student for less stressful singing experience. Topics discussed include mistakes made by music directors on bypassing classical music from students, mistakes made by conductors in rehearsal of not noticing mistakes, and modification of legato motion with the right arms into poco marcato.

The article presents the views of director Jamie Clark on the role of music in understanding emotional situations of students and also focuses on the book "Mr. Clark's Big Band" by author Meredith O'Brien. Topics discussed include music education and rehearsal for student and psychological condition of children.

The article offers suggestions by Janwin Overstreet-Goode, choir director at Friendswood High School, over management of rehearsals regarding high school choirs. Topics discussed include development of routine procedures for rehearsals among students; incorporation of sight-reading and music theory practices in rehearsals for choirs; and rotation of music in rehearsals with different music genre such as concert music.

The article offers suggestions on how to make improvements in ensemble directing. To address a lack of attentiveness in students, the article suggests conducting silent rehearsals to fully engage students in the musical sounds. Rhythms can also be taught without using instruments and instead speaking or tapping out difficult parts. Playing games is suggested for teaching tone. Other topics include teaching proper breathing, using visual imagery, and the importance of warm-ups.

The article discusses the growing trend of guitar instruction in music classrooms and how it can be incorporated into music curricula. Suggestions for necessary equipment include footstools, straps, and educational computer software programs. Typical classroom activities are also covered such as tuning, reviewing basic concepts, and large-group rehearsals. Other topics covered include teaching fingerstyle, chord instruction, and improvisation.

The article offers suggestions on ways to rehearse a music piece for music conductors. According to the author, conductors need to thoroughly study the score before the beginning of rehearsals. The author states that the sequence of discreet analysis of the preparation guide includes introductory information, score overview, score marking, interpretive summary views, anticipated player difficulty and comprehensive musicianship topics.

The article offers information about the Children's Festival Chorus of Pittsburgh (CFC) which was founded in 1983. The CFC is a nationally noted choral ensemble of young people representing many cultures, races, and socioeconomic backgrounds who perform a broad range of styles. Two of its choirs, the Talisman Choir and the Bel Canto Singers, rehearse at the summer residency workshop. The CFC routinely uses movement exercises in choral rehearsals to build vocal technique.

The article offers information on how music teachers can efficaciously solve problems confronted during music lessons and rehearsals. The author suggests that having a conversation with fellow teachers and asking them how they handle their problems can help develop problem solving strategies. Educators can emulate the problem solving style of other teachers by observing their rehearsals or lessons. Suggestion and tips to follow to ensure success in solving musical problems is discussed.

The article offers information on how to use the music festival experience to benefit your youngest musicians including rehearsing music is part of the preparation but there is more than just playing your selection; many festivals allow 30 minutes of performance time; and select music where students have an opportunity to demonstrate a variety of dynamics, styles, and rhythms.

The article focuses on the author's comment on strategies for beginning a community youth orchestra. Forming a group requires administrative expertise, interpersonal skills, expert musicianship, and a lot of elbow grease. Recruitment is one of the principal challenges of launching any new music ensemble. The first thing that a conductor has to do to form an orchestra is hold auditions. Rehearsal areas should have at least a twelve-fool ceiling, and a wide-open area large enough for the group.

The article presents the author's views on the use of new technologies in music classes. According to the author, many music teachers use computers in their classes. This computer can be used to bring new ideas and activities to inspire and motivate youngsters. Teachers can also use the Internet to get video and audio clips of the musicians studied by their students. Compact disks can be used in the choral classroom. They can also be helpful in band and orchestra classes. Students preparing for duet or ensemble performances can practice along with a recording of the other parts of a piece. A single computer can be a helpful tool in group lessons as teachers look for ways to work with students individually. Working with new technologies in the classroom helps in the preparation of concerts, and help students in enhancing their performances.

Presents the author's views on how students should be made to practice music. Suggestion for incorporating methods and modeling ideas for effective practice regularly during lessons and group rehearsals; Identification of different types of practice for different stages of music preparation; Development of a policy for repetition.

This article presents ten steps to a more productive choral rehearsal. Planning and pacing rehearsals correctly can make all the difference in the world. Get into the habit of starting on time so that the students expect it and music directors don't waste valuable time. If doing this is hard, set a timer the desk or director's stand to go off right at the beginning of class. The music director can make taking attendance the students' responsibility in order to save time. Music directors can include sight-singing exercises in their classes.

Focuses on strategies that can be adopted when working with student bands to help students respond to the stop and start cues in rehearsals. Importance of learning how to focus on a conductor; Eye contact of conductors with the students; Improvement in student's listening skills.

Presents easy rehearsal techniques for music teachers in the U.S. Keeping transitions short; Awareness of time; Isolation of the problem. INSETS: Improve Your Rehearsals;Two-Week Rehearsal Plan.

Focuses on the benefits of using journal sheets in the choir music rehearsal. Significance of periodic responses on students; Questions included in the journal sheets; Use of journal sheets in assessing the students' critical-thinking skills in music. INSET: Journal Sheet Response FROM Choral Students.

The article focuses on the development of musical problem-solving skill for rehearsing, evaluating, and refining performance by musicians. Topics include identifying causes of problems by students, practicing strategies in rehearsal, and students need to be taught to reassess their problems to make sure that the issue is fixed.

The article offers a simple warm-up exercise designed to introduce, enhance, and reinforce the fundamentals of jazz style in a way that is approachable to students and involves minimal time during rehearsal. It states that jazz ensemble directors must also give importance to in-depth learning about style, interpretation, and improvisation.

The article discusses count singing, a tool originally developed by Robert Shaw for choir rehearsals, to help in the learning and execution of rhythms and note durations. Peter Steenblik, choral director at Jordan High School in Sandy, Utah, explains that count singing brings choral unity as singers get to feel the collective ictus and produce a cleaner sound. In introducing count singing to students, Steenblik suggests doing so on the second or third day of class.

The article looks at how chamber music pieces can improve the skills of orchestra students. It states that the benefits include creating a stronger sense of ensemble, working on pieces in smaller groups within the orchestra, and exposing students to performing in various settings. Other topics include planning rehearsal times, literary resources for orchestra directors, and suggestions for music pieces.

Presents information on a process used for and effective and efficient music rehearsals. Analysis of the choral work; How to devise a lesson plan; Information executing the strategies that have been planned; Details on how to evaluate the rehearsal.

Provides several rehearsal techniques for choral music educators which could have a positive impact on choral rehearsal. What are the major challenges for the choral music educator; Preparation of music for performances; Indepth look at the whole/part/whole approach; How to use the techniques.

The article discusses the Nancy Ditmer, music professor at the College of Wooster, Ohio offering guidelines for management of band rehearsals. Topics discussed include maintaining discipline among musicians, classroom management style in building relationship between teachers and students, and encouraging students' performance.

The article focuses on observation of Tom Sabatino, former president at the Delaware Music Educators Association, over analysis of music rehearsals among music students. Topics discussed include management of an appropriate behaviour by teachers enhances involvement of students in music education; development of a suitable relationship with students; and adoption of purposeful listening abilities by teachers.

The article offers information technology and tools, including mobile device applications (apps) and computer software that can help with rehearsals and performances. It includes notation programs like Finale and drill design software such as Pyware, the use of electronics and amplification in pit ensembles, and the app A.P.A. MusicMaster Pro.

The article offers tips from Sarah Djordjevic, orchestra teacher at Maine East High School in Park Ridge, Illinois, on how string teachers can maximize their rehearsal time for high school orchestra performance. She suggests starting the rehearsals everyday with a solid warm-up such as rhythms, shifting exercises and posture review. She also suggests using technology such as audio and video recordings along with YouTube to keep students think about music.

The article discusses ways to maximize the potential of an adjudicated band, as suggested by Jeff Kluball, an associate professor of music at Darton State Collegein Albany, Georgia. Kluball explains that the most important element of band rehearsal is selecting the right music for the band. He also encourages teachers try to take their students beyond simply reading the music printed on the page.

The article offers the insights of Stephen Kerr, director of bands at Liberty University in Lynchburg, Virginia, on fixing problems in the acoustic quality of a room for ensemble practices. Kerr reminds band directors to be aware that the sound qualities desired in a rehearsal space differ from those found in a performance venue. He also explains that the size and shape of a rehearsal space is the main determinant of whether or not it will meet the needs of an ensemble.

The article discusses time management strategies for music rehearsals including reviewing music ahead of time, having a regular agenda for rehearsals, and using warm-ups to focus on long-term musical goals.

The article offers suggestions for teaching young male choir singers pitch-matching skills. According to the author, boys typically have less training than girls and therefore tend to struggle more in harmony lines. Moving boys closer to the piano, changing the seating arrangement, and conducting small-group rehearsals are discussed as possible solutions.

The article presents discussion on structuring chorus rehearsals, offering comments by music education professor Fred Spano. Details are given noting typical uses of warm-ups which are inefficient. An alternative order of the rehearsal structure is then offered using strategically placed short warm ups for specific pieces of music.

The article offers suggestions for keeping percussionists involved during ensemble rehearsals. James Popejoy, a director of bands, says that students should be motivated for playing mallet percussion in front of their peer group to involve them during rehearsals. According to Popejoy, to encourage the students, one should supply various sizes of timpani and keyboard mallets then ask them to begin building their own collection of sticks and mallets.

The article discusses effective organization methods for practice sessions of singers. Jason Paulk, director of choral activities at Eastern New Mexico University, says that the first step to greater practice efficiency is creating a safe space, where students can be private, with no audience, where they can make sounds freely and focus on their own progress. The beginning of every session should consist of a thorough 15- to 20-minute warm-up, including stretching.

The article presents music teacher Jeffrey Moore's suggestions concerning rehearsal for a percussion ensemble program. Moore suggests inclusion of improvisation as a part of the percussion ensemble rehearsal experience. Moore further suggests bringing in music from other cultures and choosing music having a variety of skill levels that will give the opportunity to match ability levels for each student.

The article presents discusses how the author and her music association's members plan their summer vacation. The author scans her office in the late spring and make note of all unfinished projects which needs attention. She revises plans and responds to piled up emails and calls. Most of the teachers spend a portion of their summer thinking about things like fine-tuning management skills, weaving high-level thought processes and enhancing ensemble rehearsal pacing.

Several letters to the editor are presented in response to articles in previous issues including "Incorporating IPA in the Choral Rehearsal," in the October 2006 issue, "The Magic of Rhythm Intruments," by Abigail Connors in the October 2006 issue, and a response by Mark Wardlaw to a letter on his article "But I Still Want to Major in Music," in the April 2006 issue.

The article presents the author's views on how directors of performing groups for both children and adults can combine the standards for musical performance with the joy of actually making music and communicating with the audience. One should make sure that students are well-prepared and well-rehearsed. One should allow ample time for setup and scene changes especially if one is dealing with a group of younger people. This keeps the group calm, relaxed, and secure. One should include some music which performers would like to have in every concert.

The article presents the author's views on the importance of time and its relationship with music education and teaching. Music teachers deal with time all the time. They need more time for rehearsals and to teach their curriculum. Time and music are inseparable. Music teachers are renowned for giving their time to students for classes, special rehearsals and for solving their problems and sharing their successes. It shows that teachers value their students as a person and as a musician by giving time to their students.

The article presents views of Patrick K. Freer, professor of music at Georgia State University in Atlanta, on the positive impact of warm-up during choir rehearsals. Topics he discussed includes sight-singing skills, development of vocal technique curriculum, meeting changes in the educational needs and vocalization.

The article discusses the study on how critical thinking is spent in choral rehearsals. It references the study "An Examination of Critical Thinking Skills in High School Choral Rehearsals," by Matthew L. Garrett et al published in the October 2013 issue of the "Journal of Research in Music Education." It was found that about half of the time spent on rehearsal was spent in nonperformance activities, with only 6% spent on critical thinking skills.

The article offers a look at how Rich Stichler, band director at Lakeview-Fort Oglethorpe High School in Georgia, manages the school's band amidst the students' tight schedule. When arranging practice sessions with his students, Stichler makes use of the sense of precision he honed when he joined the military. He believes it is important to take into consideration the many school activities of students and being realistic by programming appropriate-level jazz literature.

The article examines the results of a study that found choral students who repeated empowering words improved their performance and confidence. Before singing with an ensemble and performing a solo, the test subjects repeated words such as "bold," "confident," and "free" while using focused breathing techniques. This led to a positive effect on areas such as expressiveness, performance factors, and timing. Applications of this study to music teaching and rehearsals are explored.

Two letters to the editor are presented in response to the past articles "No Deposit, No Ritornello" and "Tap Your Potential" from the November 2011 issue.