A COACH’S GUIDE TO LEOPOLD JANSA’S STRING QUARTET NO. 1, OP. 51 by ELIZABETH ANN DONOVAN A LECTURE-DOCUMENT Presented to the School of Music and Dance of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Musical Arts August 2021 “A Coach’s Guide to Leopold Jansa’s String Quartet No. 1, Op. 51,” a lecture-document prepared by Elizabeth Ann Donovan in partial fulfillment of the requirements for the Doctor of Musical Arts degree in the School of Music and Dance. This lecture-document has been approved and accepted by: Steven Pologe, Chair of the Examining Committee August 19, 2021 Committee in Charge: Steven Pologe, Chair Dr. Arnaud Ghillebaert Dr. Jason Silveira Accepted by: Leslie Straka, D.M.A. Director of Graduate Studies, School of Music and Dance ii © 2021 Elizabeth Ann Donovan ii i CURRICULUM VITAE NAME OF AUTHOR: Elizabeth Donovan PLACE OF BIRTH: East Stroudsburg, Pennsylvania DATE OF BIRTH: January 14, 1988 GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon Florida State University Pennsylvania State University DEGREES AWARDED: Doctor of Musical Arts in Cello Performance, 2021, University of Oregon Master of Music in Cello Performance, 2014, Florida State University Bachelor of Music in Cello Performance, 2021, Pennsylvania State University AREAS OF SPECIAL INTEREST: Cello Performance and Pedagogy Chamber Music Music Theory PROFESSIONAL EXPERIENCE: Instructor of Cello, Linn Benton Community College, 2019 – present Cello Student Fellow, OrchestraNEXT, 2018 – 2019 Graduate Employee in Cello, University of Oregon, 2017 – 2021 Private Cello Teacher, Self, 2015 – present Section Cello, Sinfonia Gulf Coast, 2015 – 2017 Section Cello, Albany (GA) Symphony Orchestra, 2015 – 2017 iv PROFESSIONAL EXPERIENCE (cont.): Section Cello (sub), Ocala Symphony Orchestra, 2015 – 2017 Cello Instructor, Mason’s School of Music and Arts, 2015 – 2017 Graduate Assistant in Cello, Florida State University, 2012 – 2014 v ACKNOWLEDGMENTS I wish to express sincere appreciation to my teacher, Steve Pologe, for his assistance with this document and inspiring me to be a better cellist, teacher, and person. I would not be where I am without his guidance these past four years. In addition, special thanks are due to Dr. Arnaud Ghillebaert, for his engagement with and suggestions for the document and for his many inspirational chamber music coaching sessions during my four years at the University of Oregon. Special thanks are also due to Dr. Jason Silveira for his willingness to join my committee late and providing insightful feedback and resources on the subject matter. I would be remiss if I did not thank my quartet members Ian Jett, J Sedloff, and Alicia Mora, for participating in my lecture recital and for being understanding and supportive during the school year as I took on this project. Thank you to Joan Tay for being my duo partner the past four years and for always being willing to let me rant and throw shade with you. I also wish to thank my parents and my brother for their unwavering support while I worked to get to where I am. Thank you to my best friend, Austin Bennett, for brainstorming ideas for this document with me and for telling me to go study with Steve at Green Mountain way back in 2013. I literally would not be where I am right now if you had not pushed me to go to that festival. Finally, thank you to Otmar Borchard for always being there for me and not letting me quit, no matter how many times I wanted to. v i TABLE OF CONTENTS Chapter Page I. INTRODUCTION AND PURPOSE ..................................................................... 1 II. THREE FOUNDATIONAL SKILLS AND SOME ENSEMBLE BASICS .......... 6 III. LEOPOLD JANSA, HIS STRING QUARTET IN C, OP. 51, NO. 1, AND WHY IT IS APPROPRIATE ................................................................................ 10 IV. LISTENING .................................................................................................... 15 Horizontal Listening ...................................................................................... 15 Vertical Listening .......................................................................................... 18 V. COMMUNICATING ....................................................................................... 25 Verbal Communication ................................................................................. 25 Nonverbal Communication ............................................................................ 27 VI. SYNCHRONIZING ........................................................................................ 30 Conceptual Synchronizing ............................................................................. 30 VII. FROM DAY ONE TO PERFORMANCE ...................................................... 36 Lesson Planning ............................................................................................ 37 Week One ......................................................................................... 38 Week Two ......................................................................................... 40 Week Three ....................................................................................... 42 Week Four ........................................................................................ 45 Week Five ......................................................................................... 47 Week Six ........................................................................................... 50 Week Seven ...................................................................................... 52 Week Eight ....................................................................................... 54 Week Nine ........................................................................................ 57 Week Ten .......................................................................................... 58 VIII. CONCLUSION ............................................................................................ 60 vi i APPENDIX A. SCORE OF ALLEGRO FROM STRING QUARTET IN C, OP. 51, NO. 1 ........ 62 BIBLIOGRAPHY ....................................................................................................... 71 vi ii LIST OF FIGURES Figure Page 3.1. String Quartet in C, Op. 51, No. 1, Allegro, measures 1-3 ................................. 13 4.1. String Quartet in C, Op. 51, No. 1, Allegro, measures 16-24 ............................. 15 4.2. String Quartet in C, Op. 51, No. 1, Allegro, measures 37-38, measures 39-40 ... 17 4.3. String Quartet in C, Op. 51, No. 1, Allegro, measures 74-78 ............................. 18 4.4. String Quartet in C, Op. 51, No. 1, Allegro, measures 66-67 ............................. 21 4.5. String Quartet in C, Op. 51, No. 1, Allegro, measures 70-71 ............................. 22 5.1. String Quartet in C, Op. 51, No. 1, Allegro, measures 7-15 ............................... 28 6.1. String Quartet in C, Op. 51, No. 1, Allegro, measures 44-55 ............................. 31 6.2. String Quartet in C, Op. 51, No. 1, Allegro, measures 78-84 ........................ 32-33 6.3. String Quartet in C, Op. 51, No. 1, Allegro, measures 5-15 ............................... 34 ix CHAPTER I INTRODUCTION AND PURPOSE For students, chamber music ensembles “are especially important because they require more intense preparation and are relevant for future music activity,” according to Michael Mark in Contemporary Music Education.1 Chamber music is a valuable and rewarding experience for music students, providing opportunities to collaborate with peers and produce a final product of which they can take ownership. Students who participate in chamber music fulfill a greater number of the content standards developed by the National Association for Music Education in 1994. These standards were developed to “render the value and importance of the arts for the educational well-being of our young people and our country.”2 Participating in a small ensemble such as a string quartet pushes students to perform on an instrument, alone or with others, a varied repertoire of music (content standard 2), reading and notating music (content standard 5), listen to, analyze, and describe music (content standard 6), evaluate music and music performances (content standard 7), understanding relationships between music, the other arts, and disciplines outside the arts (content standard 8), and understanding music in relation to history and culture (content standard 9).3 Of course, students will spend time working on content standards 1, 3, and 4 while participating in chamber music, but these three are imperative when studying chamber music. These standards were updated in 2014 as a part of the National Core Arts Standards, with specific anchor standards for harmonizing instruments. These anchor standards specific to 1 Michael L. Mark, Contemporary Music Education (New York: Schirmer Books, 1986). 2 Michael Blakeslee, National Standards for Arts Education: What Every Young American Should Know and Be Able to Do in the Arts, abstract, (December 31, 1993): https://www.americansforthearts.org/by-program/reports-and- data/legislation-policy/naappd/national-standards-for-arts-education-what-every-young-american-should-know-and- be-able-to-do-in-the#:~:text=The%20Standards%20spell%20out%20what,at%20least%20one%20art%20form. 3 “The National Standards for Music Education (NAFME),” Save the Music Foundation, 2019, May 16 2021, https://www.savethemusic.org/resources/national-standards-for-music-education/. 1 performing include: Select, analyze, and interpret artistic work for presentation (anchor standard 4), develop and refine artistic techniques and work for presentation (anchor standard 5), and convey meaning through the presentation of artistic work (anchor standard 6). In the updated standards, each anchor standard is paired with at least one enduring understanding, or a statement summarizing important ideas central to the standard and can be used beyond the classroom, as well as essential questions, fundamental questions used to guide student learning and spark curiosity. For example, anchor standard 4, select, analyze and interpret artistic work for presentation, includes three enduring understandings (performers’ interest in and knowledge of musical works, understanding of their own technical skill, and the content for a performance influence the selection of repertoire, analyzing creators’ context and how they manipulate elements of music provides insight into their intent and informs performance, and performers make interpretive decisions based on their understanding of context and expressive intent) and essential questions (how do performers select repertoire, how does understanding the structure and context of musical works inform performance, and how do performers interpret musical works).4 Apropos of these standards, during chamber music studies, students learn to coordinate their part with their peers much like they learn to coordinate their two hands when beginning to learn their instrument. This step, learning to coordinate between parts, is an important step on the path of a chamber musician. Just as beginning students learn to coordinate their hands with simple exercises, it is important for students venturing into chamber music to learn how to effectively coordinate their parts with others in rehearsals while developing independence as 4 “Music Harmonizing Instruments at a Glance.” National Core Arts Standards. State Education Agency Directors of Arts Education, March 4, 2015. https://www.nationalartsstandards.org/sites/default/files/Music%20Harmonizing%20Instruments%20at%20a%20Gl ance%203-4-15.pdf 2 students play their part on their own. One of the most effective ways for students to learn how to coordinate in this way is through the help of a chamber music coach. Learning how to be an effective coach can be challenging, especially if unprepared when stepping into the role for the first time. If a coach does not understand how to use a score to their advantage, it can negatively impact the ensemble's experience. For example, a coach who is unfamiliar with the score could end up wasting time trying to make up rehearsal activities on the spot. While an experienced coach may be able to do this, a first time coach is more likely to have an unsuccessful session. This negative impact can be compounded in situations where a student coach is also a member of the ensemble. While a strong background in chamber music plays a role in one's effectiveness as a coach, it is beneficial to understand how to work with beginning groups to encourage independence and higher levels of engagement in the students they coach. When working with students, the more prepared the coach is for rehearsals, the more successful the ensemble will be. By preparing for rehearsals through score study and running skill-centered rehearsals, rehearsals which focus on learning chamber music skills through music rather than simply learning how to play the notes of a piece, students will learn their music and begin to rehearse on their own, and the first-time coach will find their experience to be quite rewarding. Establishing an equilibrium of being hands-off and micromanaging a group is an important skill to learn as a first-time coach. If a coach simply relies on an inexperienced ensemble to decide how to rehearse or perform the piece they are all working on, the coach will often be met with silence and blank stares. Meanwhile, if a coach tells the ensemble how to do everything without student input, then the coach is depriving the students of a learning experience. The key is to find a balance, where the coach helps the students, keeping in mind that their goal is to teach the students in the ensemble how to work together on their own. This 3 concept is very similar to Lev Semenovich Vygotsky’s Zone of Proximal Development (ZPD). He describes the ZPD as “the distance between the actual development level as determined by independent problem solving and the level of potential development as determined through problem solving under adult guidance or in collaboration with a more capable peer.” The concept of the ZPD is that students will more effectively learn skills collaboratively with peers or a “more experienced other,” and after learning a skill in this manner, they will be able to perform the skill on their own, raising their ZPD. The process then repeats at the more difficult skill level.5 From personal experience, as a student participating in string quartets and as a chamber music coach, I have found that providing students with the skills to rehearse effectively and understanding when to let students take the lead is important. Teaching students the three foundational skills in a chamber music setting while helping perform a piece to the best of their ability should always be at the forefront of a coach's mind. The goal of this document is to use Leopold Jansa’s String Quartet in C Op. 51, No. 1 as an example of a piece assigned to a first- time string quartet and explain how one could go about coaching it in a way that is effective in helping the students learn to play the music while encouraging the students to take more ownership in their chamber music experience. By identifying examples of how to teach the three foundational skills of listening (using our sense of hearing to assist with tuning and staying together as an ensemble), communicating (through speaking and physical gestures during rehearsals and performances), and synchronizing (coordinating the physical aspects of playing in 5 Karim Shabani, Mohamad Khatib, and Saman Ebadi, “Vygotsky’s Zone of Proximal Development: Instructional Implications and Teachers’ Professional Development,” English Language Teaching Vol. 3, no. 4 (2010): 239, accessed August, 3, 2021, https://www.academia.edu/2679793/Vygotskys_Zone_of_Proximal_Development_Instructional_Implications_and_ Teachers_Professional_Development?from=cover_page. 4 a string quartet) in this piece, the students will learn how to identify similar passages across the repertoire and be better prepared to rehearse without a coach as they continue to learn chamber music. The final aspect of this project includes model lesson plans that detail how to structure ten weeks of coachings on the first movement of the Jansa quartet. This portion of the document was inspired by the Chamber Players program at the University of Oregon’s Community Music Institute. These lesson plans, geared toward beginner students inexperienced in chamber music performance, are meant to be used as a guide for first-time coaches to help them be more organized in their teaching and create the best chance for student success in a chamber music program. 5 CHAPTER II THREE FOUNDATIONAL SKILLS AND SOME ENSEMBLE BASICS When a string quartet is truly in sync, the group sounds like a single instrument. Before a group can get to that point, the three foundational skills of listening, communicating, and synchronizing need to be refined and rehearsed constantly. While these skills are essential, some ensemble basics must be addressed in the first rehearsal. Helping students understand the importance of all these basics will prepare them to be successful chamber musicians as they continue their career. Arguably, the most essential skill when learning and performing chamber music is listening, even when reading a piece for the first time. Instead of being absorbed in their part, the musician who listens absorbs what is happening in the other parts and how their part interacts with the other parts, making the most of a reading session. Listening can be divided into two categories, horizontal and vertical. Horizontal listening tends to rely more on the passing of rhythmic or melodic motives between members of the ensemble. In contrast, vertical listening is more intonation driven, such as in a chorale-style texture. Communication and synchronizing are two more important skills to teach to beginning string quartets. Since chamber music depends on multiple people coming together to make a single work of art, communicating between ensemble members is critical. Respectfully learning to communicate verbally is a skill that will benefit students throughout their life, not just in their string quartet rehearsals. Non-verbal communication is necessary to navigate phrasing and cueing while playing. Synchronizing happens when students learn to match bowings, articulations, tempo, and dynamics, a skill similar to non-verbal communication. Honing these skills will enable students to play truly together as an ensemble. Repertoire, which is too 6 challenging for students, draws their focus away from learning these three skills essential to successful string quartets. An essential basic when beginning as a quartet is having scores and parts. It is important to have the same edition of the score and parts since some editions will have different markings or, sometimes, different notes. Try to provide students with a reputable edition, such as an urtext edition, when possible. These editions are edited by scholars who have taken all sources into account to create a performance edition representing the latest research.6 It can be tricky to navigate how to begin rehearsing as an ensemble or a coach. While there are planned lessons laid out in chapter seven, it is helpful to have some activities planned prior to beginning a chamber music rehearsal. In his treatise, “Coaching Mozart's Quartets K. 458, K. 464, and K. 465: Techniques for a Beginning College String Quartet,” Dr. Laurel Yu listed how two quartets navigate rehearsals. The first is from past members of the formerly named Eppes Quartet, the graduate quartet in residence at Florida State University.7 Their rehearsal strategy uses the acronym SPRINT: Score-have a copy and know how to use it Physicality – cueing, breathing, performance practice, stage presence Rehearsal techniques -rhythm, articulation, vibrato, matching, seating arrangements, record yourselves, pairs, turning backs to each other to play, using words for phrases, etc. Ideas – learning how to debate and plan out interpretation Negotiation – getting along, fighting, respect, organizational assignments 6 “Urtext,” Bärenreiter Verlag Urtext, 2016, https://www.baerenreiter.com/en/about-us/baerenreiter- encyclopedia/urtext/. 7 Laurel Yu, "Coaching Mozart's Quartets K. 458, K. 464, and K. 465: Foundational Techniques for a Beginning College String Quartet." Order No. 3612536, The Florida State University, 2013, 15 7 Tuning – strings and chords Dr. Yu's second example comes from the Miro Quartet, known as “one of America's most celebrated string quartets,” and is the quartet-in-residence at the University of Texas at Austin's Butler School of Music.8 The following list is their guide when rehearsing together:9 I. Preparation- Includes practicing parts, researching and thinking about the style II. Play through the piece- without stopping, don’t stop and chat, chat later over coffee III. Play through movements- Try different things, but don’t make any decisions yet. Discuss style, musical context, etc. IV. Play Sections – Metronome drills, find expressive words for sections V. Detailed work a. Intonation b. Balance c. Ensemble VI. Play Sections- Work in transitions, focus more on colors and moods VII. Play through movements- Let go! Get off the page and listen and adjust! VIII. Play through the entire piece- Don’t stop, build stamina and concentration. Be spontaneous. IX. Perform for an audience- Low stress: friends and colleagues. High stress: live radio, competitions, etc. Though these two sets of strategies are more appropriate for more advanced quartets who are already comfortably rehearsing on their own, these rehearsal ideas are beneficial to implement in coachings with novice ensembles. As with the three foundational skills, the more students are 8 “The Miró Quartet,” Miró Quartet, May 20, 2021, https://miroquartet.com/about. 9 Yu, 15-16 8 exposed to these rehearsal strategies, the more likely they will be to use them on their own in the future. An essential for any coach is knowing the level at which each student in the quartet performs, especially if the coach is assigning repertoire. Students most often lose their place when reading, due to miscounting or stumbling over rhythms or difficult passages.10 Fear of losing one's place is pervasive with beginning quartet students, whether the fear stems from worrying about disappointing a coach or teacher or embarrassing themselves in front of their peers. Less challenging repertoire reduces the risk of these pitfalls, empowering students to pay attention to more than just their part, and encourages listening from the first rehearsal. 10 M.D. Herter Norton, The Art of String Quartet Playing. New York: Simon and Schuster, 1962, 23. 9 CHAPTER III LEOPOLD JANSA HIS STRING QUARTET IN C, OP. 51, NO. 1 AND WHY IT IS APPROPRIATE Leopold Jansa was known as a Bohemian violinist and composer during his lifetime. Born in 1795, Jansa began studying music as a schoolboy, and before long, was known for his violin playing. Intending to study law, Jansa moved to Vienna in 1817, eventually leaving university to study composition with Emanuel Alois Förster and violin with Joseph Mayseder and Joseph Böhm. He was appointed as a chamber musician in the service of the Count of Brunswick but returned to Vienna as a violinist in the court chapel in 1824. Ten years later, Jansa was appointed as violin professor and musical director at the University of Vienna while also taking over as the first violinist of his quartet, earning the praise of Eduard Hanslick when the quartet resumed performing in 1845.11 While Jansa was known for his skill in performance, he was also a gifted teacher. Some of his more well-known students include Karl Goldmark, Wilma Neruda, and Eduard Rappoldi. Despite his success teaching and performing, Jansa faced some trouble with the Austrian government. For twenty years, Jansa was banned from Austria for having performed a concert in London aiding Hungarian refugees. Since Austria had just seen a democratic revolution, aiding the refugees was thought of as an act of sympathizing with the revolutionaries. Upon his return to Vienna, Jansa focused on composition and performing as a soloist. Jansa’s compositions are thought to “lack clearcut originality”, but the duets he composed are described as “numerous and 11Alena Němcová. “Jansa, Leopold.” Grove Music Online. 2001; Accessed 19 March. 2021. https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo- 9781561592630-e-0000014146. 10 instructive.”12 Therefore, I posit, his String Quartet in C, Op. 51, No. 1 has instructional value, especially when working with younger students. This work is the first of Jansa’s 3 Lichte Quartette, or 3 Light Quartets, a series of less- serious and shorter quartets than the works of composers such as Beethoven, Mozart or even Haydn. Jansa's Light Quartets are also less demanding, technically than quartets by the three composers mentioned previously. The first of the three quartets, his String Quartet in C, Op. 51, is comprised of four movements: An Allegro first movement, a Scherzo and trio as the second movement, an Andante third movement, and a Finale also marked Allegro. The first movement, which is the primary focus in this document, is in sonata form with a clear exposition, development, and recapitulation. From an accessibility standpoint, each quartet member can perform the entire first movement with few shifts, straightforward rhythms, and simple string changes. Throughout the piece there are a few moments when accidentals can make intonation difficult for the student, primarily if the student is not used to playing these notes. Since the students will not be focusing on how difficult their part is to play, String Quartet in C, Op. 51, No. 1 provides coaches and students with ample opportunities to solidify foundational quartet skills and empower students when it is time for them to give their first performance. Jansa’s String Quartet in C, Op. 51, No.1 provides student ensembles with the opportunity to learn how to listen, communicate, and synchronize from the very beginning of the first movement. While this document will provide examples specific to each skill in later chapters, the first two and a half measures of the first movement encompass all three of these fundamental aspects of chamber music. All voices are in unison, with pitch and rhythm. Students will immediately learn the importance of vertical listening, as it will be evident if one voice is 12 Franz Farga, Violins & Violinists. tr. Egon Larson with Bruno Raikin (New York: F.A. Praeger, 1969), 189. 11 out of tune. Non-verbal communication will need to happen immediately for the quartet to begin together. Having each student in the quartet cue the opening phrase is an excellent exercise to use here, allowing each student to lead and encourage students to feel comfortable with each other, especially in the first few rehearsals. After each student has led, encourage the students to decide who should lead the opening cue. Since the opening is in unison, synchronizing is required for the beginning to sound genuinely together. Working to match bow strokes on the staccato eighth notes is one of the trickier aspects of this opening. Like the cueing exercise, students should be encouraged to play the staccato eighth notes in a way they think the notes should be played and then have the rest of the ensemble match. Once each student has had a chance to try out their eighth notes with the group, the group should decide which eighth notes they like the most and try to play them in that manner. Since this spot will be one of the first to be addressed in coachings, it would be appropriate for the coach to help guide the students towards a refined staccato eighth note by either playing an example of what they would like to hear, or picking one of the student examples. Playing the first four notes of the piece together is another spot to practice synchronizing. When rehearsing the synchronization of the sixteenth notes, it would be beneficial to the group to loop the first three notes. This way, the students have the chance to repeat the motion of the sixteenth notes and, as the motion becomes more effortless, focus on listening to and matching their peers. 12 Figure 3.1. String Quartet in C, Op. 51, No. 1, Allegro, measures 1-3 Allegro "'- -- ---- - - f Spending a significant amount of time working with the students on the opening three measures of the piece will be beneficial aside from teaching essential chamber music skills. This motive repeats many times throughout the movement. While these repetitions do not always appear in the same key or total unison, it will be easier to replicate the stylistic aspects of the opening by focusing on them from the first rehearsal. Since the primary difference in each repetition of the motive is the key, the motive will still "sound" the same as the initial motive. That aural relationship will make it easier for students to learn. The opening movement of Jansa’s String Quartet in C not only provides students with the opportunity to learn to listen, communicate, and synchronize within the span of two and a half measures but also provides ample opportunities for refining these skills throughout the movement thus, supporting the concepts for learning how to play as an ensemble. Many of the skills discussed later can be studied in other, more standard works. One of the best reasons to learn these skills through Jansa’s quartet since this work was written specifically for musicians who “cannot manage the higher positions.”13 Since very few technical demands are placed on the 13 Leopold Jansa, String Quartet Op. 51, No. 1 (London: Merton Music, n.d.), 27 13 students who learn this work, it is the perfect opportunity to spend a significant amount of time refining details and honing their three fundamental skills of listening, communicating, and synchronizing. 14 CHAPTER IV LISTENING Listening is an essential skill to work on when learning chamber music. If a performer loses their place, listening to their colleague's parts can help them find it. Listening is one of the skills that teaches us how to work on intonation and be more aware of how an individual part fits in with others to create a beautiful piece of music. The two types of listening regarding chamber music performance are horizontal listening and vertical listening. Horizontal listening tends to focus on a rhythm or motives passing between different members of the quartet. Vertical listening is required primarily, though not limited to, when the ensemble is in rhythmic unison and tends to focus on intonation14. Horizontal Listening As discussed above, there are two types of listening skills to learn when working on chamber music; horizontal and vertical. Understanding how and when to focus on each of these two types of listening in rehearsal is important, so teaching students how to identify these moments is vital. One of the simplest ways to identify horizontal listening in Jansa’s quartet is to look for the opening motive. From measure 18 to 24 of the first movement (Figure 4.1), the opening motive alternates between the cello and viola. When rehearsing this spot, isolate the opening motive so the students can hear how the alternating motives create a longer line. Encourage the violinists in the group to listen for continuity. After the cellist and violist finish playing in measure 24, have them discuss whether the line flowed continuously or gaps in the line. This teaching technique encourages student involvement and effective communication from all members of the ensemble. 14 Yu, 17 15 Figure 4.1. String Quartet in C, Op. 51, No. 1, Allegro, measures 16-24 ,,, l'l. - 20 - -,- - ~ -::::r: - -r ===i= -r - --r- - ~._; - -. - -I ' I !J..-, - _l -..j..- -l- I ~ - - -.-. -- ~ -. - t-6'- ,. ., I) I - ::--,_ ..:. ~ • - I - - - - -- - ,,..- -:::;;i T ------ ' - ... ~' ,.....___._. . - -= • .LI• - -. -;- ---t- ---, .,...._ r ' - ---- ---r--I ' ' - - -MM107M 1996 Merton Music - - ~. . pp cresc. '-' Some horizontal listening moments involve all musicians in the ensemble passing a motive between them. Measures 37 through 40 are an example of this and would be a great spot to rehearse soon after matching the opening motive (Figure 4.2). The opening motive begins in the cello, passing into the viola and second violin, who play together, moving up to the first violin before dropping down to the cello again. Start by isolating the opening motive and eliminating anything other than the motive, listening for a continuous line as it passes through the parts. Once the line is working smoothly, focus on the matching the forte-pianos on the downbeats of measures 38 and 39, when the motive is in the inner voices and then the first violin. Start by having the three voices play “their” motive together as a loop until the forte- piano sounds unified. At that point, have the second violin and viola and the first violin play their 16 parts as written to ensure that adding the forte-piano is not disrupting the line. Since the cellist does not have a forte-piano, they should be encouraged to listen with the coach and provide feedback on the forte-piano and continuity between measures 38 and 39. Figure 4.2. String Quartet in C, Op. 51, No. 1, Allegro, measures 37-38, measures 39-40 .,, f'i .~. ,... •"-~...... 40 ~ ft- _ ....-::::::-::- ILi h - 'ri - ~ - I/ ,' 1 .,-:----, I ,., --- fp I - ' I - - Similarly to measures 37 through 40, the motive passes through each voice in measures 74 through 77 (Figure 4.3). At this point, each voice has the forte-piano, so it would be helpful to rehearse these measures similarly to how measures 37 through 40 were rehearsed. When relying on a coach, all four voices can loop their measure with the motive together to match forte-pianos. As a coach begins to take a step back from running rehearsals, encourage the students to each play the motive and decide which forte-piano they like the most. The student whose forte-piano is picked by the ensemble will be paired off with the other students. Like before, loop the measure with the motive until the forte-piano is unified. Next, pair the "student to match" with another student and repeat the process until the "student to match" has paired off with each member of the quartet. While the students are paired off, the other two students in the quartet should listen and give feedback. Actively listening to how their peers play the forte-piano will help them match when it is their turn to pair off. Once this passage is unified, consider having the 17 students add intensity to the forte-pianos as they move from measure 74 to measure 78. Since measure 74 has a piano dynamic in the first violin it would be possible to grow to the forte in measure 78 and use the forte-pianos as a means to get to the new dynamic. Figure 4.3. String Quartet in C, Op. 51, No. 1, Allegro, measures 74-78 Studying the score and finding where the opening motive is stated in every voice is one way to practice horizontal listening in a coaching session. As mentioned above, there are various ways to rehearse these sections, effectively teaching students how to play more unified and rehearse without a coach in the future. There are four other instances of this motive passing between voices in the first movement. One possibility would be to work more "hands-on" with students on these previously mentioned passages in earlier rehearsals. As the students’ progress, encourage them to tackle the passages where the opening motive passes between voices on their own to assess their progress. This way, as a coach, you can see if the students understand your teaching or if you need to reassess how you are communicating with your students. Vertical Listening While horizontal listening focuses mostly on rhythmic and melodic motives, vertical listening is much more harmonically oriented. A basic understanding of music theory is beneficial when working on vertical listening, so it is important to coach a student ensemble 18 through vertical listening in a rehearsal setting. When preparing to rehearse vertical listening passages, it is important to do a basic harmonic analysis to see who in the ensemble is playing what note in the chord. This makes intonation work in these more chorale-style passages much easier for the coach to take the lead. When working with the students on these passages, explain why you build the chords the way you do so that they will have a better understanding of how to do this on their own in the future. This would also provide an opportunity to teach students some basic music theory. The key to finding sections where a quartet can utilize vertical listening practice is to find a section of music where all the voices are moving together. As mentioned in the previous chapter, the opening of Jansa's Quartet can be an exercise in vertical listening since all four voices need to be in tune with one another as they are all in unison or octaves. Vertical listening in unison passages is a little easier for students to hear since they should all be playing the same pitches. Measures 66 through 67 of the first movement of this quartet is the first time all four voices move in a chorale-like manner, or in half note rhythmic unison with a chord change on every half note (Figure 4.4). This is an excellent passage in which to introduce students to vertical listening as the chords are straightforward and most of the chords are in root position. Here, there are two G major chords in root position, a C major chord in root position, and a D7 in third inversion. The first time working through this passage, use a drone to help the students solidify their intonation. Start with a G drone for the cello to match and help them if need be. Remember that not all young music students have strong ears, which does not mean that they will fail in music. Next, have the second violinist match the cello and, again, help if necessary by encouraging the second violinist to adjust their pitch until they think it is in tune with the cello. Encourage the second violinist to listen for a pure, resonant sound that rings with the cellist’s 19 sound. If the students are still struggling to match intonation, ask them to match bow speed and tone as sometimes these technical issues can cause slight deviations in intonation. Once the cellist and second violinist have matched their Gs, have them sustain their notes and have the viola join by playing D. Encourage the students to listen for when the D begins to ring with the G. Since this is more complicated than simply matching the same pitch, it would be beneficial for the coach to have the violist move in and out of tune so the students can hear what an out of tune perfect fifth sounds like versus one that is in tune. Finally, add the third of the chord, which is the first violinist's B. Again, helping the students understand how the third fits into the chord (in this case, they should lower the third slightly, so the chord sounds in tune) will be important in the early stages of this kind of practice.15 If the students grasp this concept quickly and easily, then move on to the next chord and repeat the process (start with a drone, cello and viola match with the root, the second violin joins with fifth, and the first violin joins with the third). Once both chords are established, practice moving between the two chords slowly. Have the students sustain each chord until the pitch is established, and then move forward or backwards. The ensemble should do this kind of practice in every coaching to help strengthen vertical listening skills and strengthen ensemble intonation. Be careful not to dwell on vertical listening for too long in rehearsals as it can become draining quickly. Try to limit vertical listening practice to a maximum of ten minutes per coaching session, but cut it short if you start losing your students attention. 15 Margaret Berg, “Promoting ‘Minds-On’ Chamber Music Rehearsals” Music Educators Journal, December 2008, 49. 20 Figure 4.4. String Quartet in C, Op. 51, No. 1, Allegro, measures 66-67 I - -- I I =-- - - =-- " ,, - - I I ,, I I ~ - ::::=-- GM-------- CM D7 Once the students are comfortable moving from the G major chord to the C major chord, it is time to tune the D7 chord. Like the G and C major chords, start with a drone to match the root of the chord. The viola is the root in this chord, so encourage them to keep their ears on the note the viola is playing. Suppose this is the first time a student is playing in a string quartet. In that case, they may not know that the cello does not always play the root of the chord, so this is the perfect opportunity to talk about chord inversions and how to use the score to find out who has the root of the chord. Once the violist's pitch is stable, have the first violin tune their fifth to the viola's root. Next, add the third in the second violin (again, encouraging the student to lower the pitch slightly so that the major third rings with the chord). In this chord, the cello plays the seventh, so they are the last instrument added when stacking the chord for pitch. As with the G and C chords, practice moving between the D7 chord and the previous chord (C major) to practice holding these chords while making pitch adjustments. As they get comfortable moving from the C major chord to the D7 chord, have the students play the full two measures, holding each chord until the ensemble pitch settles. 21 Sometimes composers add embellishments to chorale-style passages. In measure 71 (Figure 4.5) of this quartet, Jansa added two eighth notes to the end of the measure instead of the quarter note chord in measure 67 (Figure 4.4). These two spots are beneficial to teach together because the first chord of each passage is the same chord, with the same instrumentation (the cello plays G an octave lower in measure 70). The second chord is another dominant seventh chord, and (if the coach has already spent some time working on measures 66 and 67), it would be beneficial to the students to tell them that this is a B7 and then tell them what makes up a B7 chord. Building upon what the students learned in the aforementioned example, ask the students to look at their scores and identify who is playing the root, fifth, third, and seventh. Once they identify who is playing what role in the chord, play a B drone and ask them to stack the chord in the same order, they worked on stacking the D7 chord in measure 67. The students still may need help with tuning and stacking the chord, but giving them a chance to figure out this puzzle on their own will be more beneficial than simply providing them with the answers. Like the previous vertical listening passage, have the ensemble play the first two chords back and forth until they are comfortable and the pitch becomes more stable. Figure 4.5. String Quartet in C, Op. 51, No. 1, Allegro, measures 70-71 0 , . ~ ~ I J - v= _~ 1 - - - ' ,,,.--- --- ~ - ~~ - - - GM B7 Em----------- 22 After the first two chords are established, begin working on measure 71. This measure is interesting because it may seem like the last two eighth notes of the measure are two more chords to tune; a coach can break down the measure to be a prolonged E minor chord. When looking at the outer voices, notice that the dotted half note in the violin sits on G while the dotted half in the cello part is an E. At the end of the measure, on the final eighth note, the violin has an E, and the cello plays a G. In music theory, this exchange of notes in the outer voices is known as voice crossing, which, as stated previously, indicates a prolongation of a chord. When rehearsing this measure, begin by stacking the chord, as described earlier. Once the chord is in tune, isolate the outer voices so the voice crossing can happen effectively. First, have the cello sustain their E so the first violinist can play their figure (G – F sharp – E), matching the original E with their final note. Next, have the first violinist sustain their G and have the cellist play their figure (E – F sharp – G), so they match the violinist when they land on G. Finally, have the two outer voices play their lines together, paying close attention that the passing tone (F sharp) is in tune. When working with the outer voices, have the second violinist and violist listen to help identify when pitches are tuned together. The next step in tuning this measure would be to tune the inner voices (second violin and viola). Since they are moving together in parallel thirds, move note by note through the measure. Encourage the first violinist and cellist to pay attention to what is in tune or out of tune (and in which direction, if possible). At this point, have all four voices play together and refine any intonation issues that still exist. These examples are just a few of the many in Jansa’s String Quartet, which can teach students how to listen vertically and horizontally. There are many instances when a rhythm is passed between two or more voices in the first movement of the work, and isolating and rehearsing these moments will help students learn how to rehearse passages where horizontal 23 listening is required. By teaching students basic music theory, specifically how to identify parts of a chord, build the chord, and then tune the chord, students can learn the basics of rehearsing vertical listening, though, with a very beginner ensemble; these passages are best done with the assistance of a coach. If a coach comes prepared with passages that correlate to these two types of listening identified, they will be better prepared to help students learn how to be better listeners. 24 CHAPTER V COMMUNICATING When performing as a quartet, it is important to learn how to communicate in a direct yet respectful manner when talking to one another. Learning effective verbal communication is also important to keep the peace in a quartet unless one is lucky enough to be in a group where everyone gets along harmoniously. Learning to communicate nonverbally, or through physical cues, is also critical for musicians when working with a string quartet since communication while playing is entirely nonverbal. Quartet playing is a “cooperative enterprise” and, unless they learn to communicate effectively, “they can produce neither a perfect nor a sympathetic ensemble.”16 Verbal Communication As a coach, it is important to set the tone for the students' ensemble experience by paying attention to how you communicate with students. Ross Harbaugh, professor of cello and chamber music at the University of Miami Frost School of Music, suggests finding ways to "speak effectively about music using objective language to help passionate musicians work through disagreements in a positive and productive way."17 When commenting, consider starting the phrase with "I," "We," or "Let's" not to sound accusatory and convey a more constructive feeling. If a student feels attacked or insulted by a comment, it is more likely that they will shut down and progress will stop. Another way to encourage students is to let them know what you liked about their playing before making a critique. Always suggest trying out different interpretive ideas instead of telling the group how they must play something. Give the students a 16 Norton, 34. 17 Ross Harbaugh, “‘Open, Sesame’: The Power of Positive Feedback in an Ensemble.” American String Teacher: Journal of the American String Teachers Association, Volume LXVI, No. 3, August 2016, 36. 25 suggestion and have them try to play a passage in that way, then let them decide if they like it or not. The goal of this kind of coaching is for students to bring this kind of interpretive decision making into their rehearsals without a coach. If we as coaches simply tell the students how to play a piece, we deprive the students of learning how to make interpretive decisions without a coach. As important as being respectful of the students is, it is also important for comments to be direct. David Soyer, the founding cellist of the Guarneri Quartet, said, “one of the things in a quartet rehearsal is the fact that you’re constantly criticizing and being criticized. Many players can’t take that.” Just after that, he described how other quartets would talk to each other: "Their manner is 'oh that was wonderful, oh that sounded so beautiful. I really hate to say anything about it at all, it was really, really beautiful, but, do you suppose it could...oh no, no, it was really too nice. Never mind, it’s okay…but could you possibly play a little faster? Or louder, or softer, or slower, or whatever, or more in tune?’”18 This comment is Soyer’s way of poking fun at ensembles who do not feel comfortable communicating directly with each other. While preventing any hurt feelings during rehearsals, this kind of communication is a waste of time, which is why it is essential to help students learn to communicate directly and respectfully. During their first season, the Guarneri Quartet needed to learn forty-five works for a fifteen- concert residency,19 so understanding how to be efficient communicators was something all members had to learn quickly. 18 Erick Hoffmann, “The Guarneri String Quartet. Portrait, 1988.” December 6, 2020. YouTube Video. https://youtu.be/NAa5U7gpOXY, 19:45. 19 David Blum, The Art of Quartet Playing: The Guarneri Quartet in Conversation with David Blum, (Ithaca, New York: Cornell University Press, 1986), 15. 26 Nonverbal Communication Students learning to play in a string quartet need to learn how to communicate nonverbally. In a study focusing on communication between members of a string quartet and a jazz sextet performed by Frederick Seddon and Michele Biasutti, nonverbal communication through body movements during rehearsals and performances was important to the success of an ensemble. From the article “both groups of musicians became empathetically attuned and employed non-verbal collaborative modes of communication to develop and express the creative and expressive qualities of the music they were playing.”20 When first teaching students how to communicate nonverbally, assigning a "leader" to cue a passage is beneficial. The best practice would be to have each student lead the passage and decide a leader based on which iteration feels the most comfortable to everyone. Since the opening of Jansa's quartet has been discussed earlier, this section will focus on rehearsing nonverbal communication in other passages of the piece. Usually, due to the nature of the part, the first violinist is the designated “leader” of the ensemble. The phrase beginning on beat four of measure 7 (Figure 5.1) is an example of when the first violinist should take on the role of leader, especially at the beginning of the line. Encourage each member of the quartet to have a chance to cue the pickup into measure 8. Once you establish the pickup leader, the first violin should be encouraged to drive the tempo with their melody. In measure 12, the first violinist begins playing half notes, while the other voices start driving eighth notes. The first violin takes over as leader again; moving into measure 14, the students should try cadencing into measure 15 a few different ways before settling on how to end 20 Frederick Seddon and Michele Biasutti “A Comparison of Modes of Communication Between Members of a String Quartet and a Jazz Sextet.” Psychology of Music 37, no. 4 (2009): 411, accessed August 10, 2021, https://journals-sagepub-com.libproxy.uoregon.edu/doi/abs/10.1177/0305735608100375. 27 the phrase. Encourage the first violinist to lead the cadence with a gesture that signals how to approach the cadence. For example, if the quartet decides to slow down into measure 15, the first violinist could signal the slight ritardando with a lift of their scroll or a slight nod of their head. Have the students rehearse the transition into 15 a few times so that every member of the ensemble feels comfortable. Figure 5.1: String Quartet in C, Op. 51, No. 1, Allegro, measures 7-15 ... .. --'""- , -- --- . , - u ·- .. p do/. - p- ..._.._ _________.,. ... -6: 77 I.. - - ,... f ~ --- w - ~ - ' r p --- ,, flJ O :-.. ....._ ---- ~ n I+~ ...... tr - 15 - ~ - - cresc. ,. ti I ip "' "!' f- · -:_~~ "!' fl _, ~- tJ - - - .. v~ cresc. ij, -· -:_-----.,~"!'-; '-.-,.: I ' ~ ~ - I 'r cresr!r 'r 'r 1' } - - ~ ~ - - .. - -r, - ... cresc. p - f While nonverbal communication can be rehearsed at essentially every character or tempo change of the movement, verbal communication, or how the students speak to each other in the ensemble, reflects how the coach talks with them. A coach who is direct and honest can phrase critiques in a way to not make students feel singled out or hurt. When students weigh in on how other students in the ensemble play a passage, whether they are listening for timing or intonation, 28 it is imperative to enforce direct, honest, but positive language. Remember that all communication, when working well, should feel comfortable for everyone. 29 CHAPTER VI SYNCHRONIZING Synchronizing deals with the physical work that we do to make a piece sound polished. Like listening and communicating, synchronizing can be divided into two categories: physical or conceptual. Matching articulations, bow strokes, and vibrato are examples of physical synchrony, while details in the score such as dynamic changes and tempo rely on conceptual synchrony. The most basic synchronizing skill is playing in the same tempo without needing to rely on a metronome all the time.21 Encouraging students to work on these concepts from the beginning of their quartet experience will help them to focus on these skills in rehearsals in the future. Working on synchronizing as a quartet will help to create a more unified sound, even with beginners. Conceptual Synchronizing As mentioned above, tempo coordination is one of the most basic forms of conceptual synchrony. The quartet can often rehearse this kind of synchrony with non-verbal communication. When working on tempo coordination and ensuring that the entire ensemble agrees about tempo, it is again beneficial to have each student lead a passage. After spending a significant amount of time working on the opening passage of the piece, consider checking different sections throughout the first movement to ensure a consistent tempo throughout the movement. Find various sections that may vary from the opening since the opening motive will feel more comfortable. Measures 46 through 51 (Figure 6.1) are beneficial for synchronizing tempo as a few different things are happening. The first violinist has a triplet passage contrasting with a half-note motive passing between the cello and viola. 21 Yu, 50-51. 30 Figure 6.1.: String Quartet in C, Op. 51, No. 1, Allegro, measures 44 - 55 ,, I\ .. ;. - 45 9 - ...3: :.-, ~ -...... - " - --- - e.J - TI fTI V 8 - - I\ e.J '------ - ~ -,;- ... :; ♦ ·~ ~ f tr .,________,, lf - " -tr : ~ ~ - ' I 77 - I -,;- -,J f ,, I\ -- 50 ----------- l,I __ ,._ - "_.,,._ ... ----c - -.; p - - - - ......... -f I\ ._, ... TI'-.. p "" :;t ~ ·~ • f ---- - -tr p -6J- TI - f ~ .. tr - ' - -- ' I p ... I I f " _, II " --- - 55 ~- J1 C • ...1 1. .. e.J - - - ~ ~ -I\ e.J u ~ 4 -d- > I > ""----' '-._!!; ~ • L-=.. : ' I ___. ' I f > Since the first violinist has the most active line, they should lead the passage, but for rehearsal purposes, each voice should have a turn cueing and leading, so everyone has a chance to show what tempo they feel works for this passage. Encourage the students to find a tempo that feels comfortable for them at this point in the piece and remind them that it does not necessarily need to be the same as the opening. If the group struggles to reach a tempo solution for this passage, 31 have them play the opening line, then play this line immediately after. The students can see what it will feel like playing this passage in the same tempo as the beginning motive. Whatever tempo the students decide to do, encourage them to note what they decide, and you as the coach should note their decision. Another example of a passage to spot check tempo is from measures 78 through 84 (Figure 6.2.). There is a new motive in the cello with half notes in the upper three voices. This section primarily functions as transition material between two sections featuring the motive from the piece's opening. Since the motive from the opening is prominent in the measures leading up to and preceding this passage, it would be beneficial to have the opening tempo in mind when deciding on a tempo for measures 78 through 84. Figure 6.2.: String Quartet in C, Op. 51, No. 1, Allegro, measures 78 - 84 32 Figure 6.2. continued: String Quartet in C, Op. 51, No. 1, I. Allegro, measures 78 - 84 .,, l'l ~+2- 80 ~ lo - ,.., I - '-! I l'l I - ' ' ~ - -.; I I I I l - I ~ A-· .-.I.- .J/1.. ill..--. ~ ._ L- ~ 1--- ::: 1 :,.--t-- L - ' Encourage the students to experiment with a variety of tempi for this passage. Consider having the students think of adjectives to describe what is happening between measures 78 and 84. Once they have agreed upon some adjectives, have them play the passage in the character they picked to describe it. If there are still issues synchronizing, have each student play the line the way they imagine it so they can all have a conversation about which version of the passage they like. Conceptual synchronizing also covers matching dynamic changes. Jansa’s quartet features dramatic dynamic changes, whether they change from forte to piano or crescendos to a piano. These dramatic changes provide students with great opportunities to practice synchronizing their dynamics. The pickup to measure 7 (Figure 6.3.) is the first piano dynamic of the piece, a contrast from the beginning. Measure 12 is where the dynamics begin to change with a crescendo over two measures, only to drop back to a piano dynamic in measure 14. Then, one measure later, the dynamics jump back up to forte with the return of the opening theme. This passage was discussed briefly in the previous chapter regarding non-verbal communication. Have students practice synchronizing their dynamics by listening to make sure the group stays balanced as they crescendo. To practice the sudden dynamic changes, have the students put a space between the two dynamics, in this example, between the peak of the crescendo and the 33 piano dynamic and then between the piano and the forte. Cellist Daniel Morganstern encourages practicing fast music with breaks to ease tension when playing at a fast tempo. By adding a break in between the dynamic change, the students will relax on the re-attack in the new dynamic, encouraging them to pull off the dynamic change with physical ease.22 Encourage the students to sustain the first beat in the new dynamic to ensure that they are balanced. As they get comfortable changing dynamics together with a pause between dynamics, gradually make the pause shorter until it is eliminated. This exercise is helpful in any passage with sudden dynamic changes. 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' ------ - I I ,- ' ~ - - " ' r ' " - -' s.fi I ffi sfi s.fi s.fi p 69 11 ·-- -- .. ~.:. tr ., fl -'- .!. ~'- --- -I\ ~ - I t) 7 7 f - fl . : . = ~ : ~ t) ~ I -------- f ~ ~ . I I -_ -: : - - : , ~------ -- I I f, - - -- . : ~ I ' - f 160 fl u. .:. ~.:. - .flL. -.e. ~ ~ . ~ :. - I -· .= .= .;. ~ ~ :;; : - ~ u I - II' -.=. f)'z sfi. ·1 .f l . . -- -: .-. : - ~ ~ ~ _, .: ~ t) ~ -:;J. -:;J. ' ... ~ s.fi s.fi I I I ~ .= : : - : - ~ - I I I sfi ~- s.fi I I . - - - - T - ' ~ sfz sfi 70 BIBLIOGRAPHY Berg, Margaret H. “Promoting “Minds-On” Chamber Music Rehearsals.” Music Educators Journal 95, no. 2 (2008): 48-55. Blakeslee, Michael. National Standards for Arts Education: What Every Young American Should Know and be Able to do in the Arts. 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Tsai, Yun-Yi. “Effective High School Chamber Music Teaching.” Order No. 1406469, 73 University of Southern California, 2001.http://libproxy.uoregon.edu/login?url= https://search-proquest.com.libproxy.uoregon.edu/docview/304722615 ?accountid=14698. “Urtext,” Bärenreiter Verlag Urtext, 2016, https://www.baerenreiter.com/en/about -us/baerenreiter-encyclopedia/urtext/. Yu, Laurel Sung. “Coaching Mozart's Quartets K. 458, K. 464, and K. 465: Foundational Techniques for a Beginning College String Quartet.” Order No. 3612536, The Florida State University, 2013. http://libproxy.uoregon.edu/login?url= https://search-proquestcom.libproxy.uoregon.edu/docview/1507461636 ?accountid=14698. 74